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A Story of Man's Great Love

A Story of Man's Great Love

CEU eTD Collection In partial fulfillment for the degree of Master of Arts in Gender Studies. S LASH A Supervisor: Professor Jasmina Luki S F TORY OF Marja-Kristina Akinsha Department of Gender Studies AN F Central European University OR F Budapest, Hungary ICTION H Submitted to IS M 2009 F by AN ELLOW , A ’ S L G ITERARY GENRE REAT M AN L : ü OVE CEU eTD Collection Husband: Wife: Husband: Wife Husband: Wife: Husband: Wife: Husband: Wife: Wife: Husband: Husband: [trying to look innocent] “‘Tis one of Shakespeare’s latest works.” “Indeed. was “Indeed. How war, my the lord?” “‘Tis a... er... ‘tis a story of a man’s great love for his… fellow men.” husband.” nothing, ‘tis “Oh, [without enthusiasm] “No, no, fair lady. The rest was too smutty.” “The Spaniards were defeated thrice. Six dozen chests of hardcore captured.” “How fortunate we are indeed to have such a poet on these shores.” “I can see ‘tis “Yes, my good wife, this fair coat trimmed with ermine.” “Good evening all,my love. I have returned safe from the Low Countries.” [picks up thebook and reads the title - tragedy? Comedy?” - tragedy? whistling.] wife hurriedly hides the book she is reading under some knitting and starts Elizabethan Pornography Smugglers Sketch, “What are thou reading, fair one?” something “Oh, lovely, nowt else?” “Hast thou brought home any spoils of war?” .” ] “Oh…‘Gay Boys in Bondage’. What, is’t Monty Python's Flying Circus [His CEU eTD Collection previously been thoroughly considered in this context. in this considered thoroughly been previously not have and analysis the to themselves lend they as applied were theory narrative and with supplementary collecteddata through e-mail interviews with fans. story. Thiswas performed through a close reading both of sourcethe andtext theslash text, slashand presents adescriptiontext, elementsof the createthat essencethe of any slash by-stage breakdown of slashthe writing process.also Itfocuses on propertiesthe of the genre with a particular focus processthe on of creation of slash stories,including astage- relationships men between written from a female perspective. This thesis analyzes the homoerotic of exploration its for distinctive is Slash women”. for and by exclusively protagonists” whoare “expropriated malemedia characters”, andwhich are“written almost Slash fiction is a“genre of fan stories positing homoerotic affairs between […] ABSTRACT ii CEU eTD Collection after Igraduate! after fansome read and usefulme links fiction good to provided content, to pointed towards The countless fans on LJ and elsewhere who supportively responded to my pleas for help, much Three. for of Chapter Margaret Price, Sky Blue Reverie and Speranza, whose excellent stories provide the basis responses. noctuabunda and Margaret Price, for their invaluable contributions in form interviewof Ash-Leigh, Cein, DasMervin, Debris K, Katie Mariie,m_l_h, ,MASHFanficChick, Rozi and Gulnura, for being good friends and making me smile when it was needed. help in assemblingmy piles of data into the readable form that follows. huge a were project in the involvement and enthusiasm Her my own. than greater much Professor Jasmina Luki My father and grandmother, for cheering me on and believing in me. Mike, my wonderful boyfriend, for his patience and support (which were sorely needed). project: this of duration the mefor with up put have who people following the go to thanks Special ü , my supervisor, whose motivational and organizational skills are ACKNOWLEDGEMENTS iii CEU eTD Collection Fig. 2 - “The Laughing Cardinals”, 1 - Fig. Fig. 3 - “No One Gets Out of “No Out of Fig. 3- Here Alive”, OneGets Fig. 8 - “The Laughing Cardinals”, “Tuppy andthe Fig. 6- Terrier”, Models Narrative 5 - Fig. 4 - Fig. Fig. 7“Before- I Sleep”, Star Trek V: The Final Frontier “No One Gets Out of “No Out of Here Alive”, OneGets Stargate Atlantis Jeeves & Wooster LIST OF FIGURES From Eroica With Love With Eroica From From Eroica With Love With Eroica From Wiseguy Wiseguy iv 25 27 52 44 31 29 53 51 CEU eTD Collection ILORPY...... 63 BIBLIOGRAPHY GLOSSARY...... 62 - APPENDIX CONCLUSION ...... 58 ANALYZING ...... 39 THE SLASH TEXT THREE CHAPTER QUEERING THE (UN)SUB(TLE) TEXT...... 22 CHAPTER TWO SLASH FROM KIRK ...... 9 TO HARKNESS ONE CHAPTER INTRODUCTION & METHODOLOGY...... 1 LIST OF ...... iv FIGURES ACKNOWLEDGEMENTS ...... iii ABSTRACT...... ii 3.4. The Core Elements of Slash...... 56 3.3. Analysis of a Set of Stories...... 45 3.2. Narrative ...... 42 Structure 3.1. “QuaintLittle Categories”: Problems of Classification...... 40 Summary...... 38 2.2 Relationship with the Source...... 34 2.1. From Source to Slash...... 23 Summary...... 21 1.3. The Fan Viewpoint...... 19 1.2. Literature Review...... 12 1.1. “We’re by nomeans setting a precedent”: A Brief History of Slash...... 10 3.3.4. “…Without Buttsex”...... 54 3.3.3. “You Can’t Spell ...... 50 Subtext…” 3.3.2. Content ...... 49 Mimicry 3.3.1. Stylistic ...... 45 Mimicry 2.2.2. Social Commentary Through Parody...... 35 2.2.1. Slash and Authorship ...... 34 2.1.3. Slash Writing...... 32 2.1.2. “Slashing” ...... 24 2.1.1. Source Materials...... 23 1.2.4. Locating Slash...... 18 1.2.3. How is slash approached? ...... 17 1.2.2. What motivates involvement in slash?...... 15 1.2.1. Defining Slash...... 12 E-MAIL INTERVIEW QUESTIONS...... 61 - “CAPTAIN SODOM AND CAPTAIN GOMORRAH”: CAPTAIN AND SODOM - “CAPTAIN - “AND YOU’RE NOT EVEN A GOOD KISSER”: AGOOD EVEN NOT YOU’RE - “AND - “INNOVATIVE DABBLING”: TABLE OF CONTENTS TABLE OF v CEU eTD Collection 1 and importance the conventionsof genre such as social organization, how stories are distributed, how newcomers are initiated, expectations. societal to subject ifnot be structured might relationships exploring close,By 130). (124-126, power and strength of identity male deepconstructed the compromise malevulnerability and relationships,intimacy male of displays homophobic, inherently is masculinity hegemonic slash how of discussion his in notes offersKimmel As masculinity. of model a femalehegemonic the perspective onand howin society.these Slash also providesmedia characters, it raises ourawareness to the rigid portrayal of sexuality, inboth media commentary on how malesuggesting amore fluid sexual identityintimacy for many well-known (and some little-known) is discouraged well by the how depictedas sex acts reflectfemale sexual desires and experience.By which can beseen in attentivenessthe intimacy to andemotion between charactersthe as perspective, female a from written men between relationships homoerotic of exploration its television series, films books,and using their characters andsettings. Slash is distinctivefor as such sources media various of fans by written stories unofficial or fiction, fan of field general more the of subgenre a comprises Slash 70). Lovers” “Warrior Symons, and media characters”, and which are“written almostexclusively by forand women” (Salmon protagonists” […] between affairs homoerotic See Glossary. In my thesis, I will explore slash fan fiction, a “genre of fan stories positing stories fan of a “genre fiction, fan slash explore will I thesis, my In Whereas previous studies have tended to focus on communitythe aspects of the INTRODUCTION & METHODOLOGY 1 as a meeting place for like-minded fans, this study will 1 (H. Jenkins 186) who are“expropriated male CEU eTD Collection 2 the stories in a variety of both a broad understanding its of reaches, as well comprehensiveas in-depth knowledge of have I genre. the discuss and socialize to gather members community where conventions slash several attended also have and fans, slash other with stories discussing and writing, in reading, involved been have I period, time this Over years. ten for community slash account. My personal interestin topicthe comes from being aparticipatingmember of the study, I am an insider,balanced and the possible objective, an biases make stemming to from this status attempting mustam I be taken into although that out point to important also is It slash text. and the text source the both readingof aclose with along members community of experience lived the use to chosen have I slash, on work existing the of analysis identity itdoesas with the words on the page” social ties createdby exchangethe ofnarratives, the sharing gossip, of and the play with methods -as H.Jenkins correctly observes, the “meaning ofslash resides asmuch in the genre. the within exist that stories diverse the unite which and I hope to gaininsight intohow and why slashis written, and which elements differentiate approaches? areWhat characteristics the written of the product? By asking questions these these of shortcomings the are what and categorized been stories slash have How writing? investigationthe of homoerotic relationships? Howdothey expand upon hintsthese in the text? What“hints” do slash readers and writers perceivein sourcethe material inspirethat the reasons women enjoyexplore slash the in textwithparticular, aviewanswer thefollowing to Whatare questions: slash? How is a slash story created, from source text to slash See Glossary. In order to provide a complete picture of slash, it is necessary to use multiple use to necessary is it slash, of picture complete a provide to order In 2 . 2 (222). Therefore, tosupplementmy critical CEU eTD Collection researcheravoid andthefan to accusations researcher bias,of working underthe establish arapport with them. Whileolder works on slash madeapoint of dissociating the an asset rather a than disadvantage, as I will not havestruggle to togain their trust and distrustful of outsiders. My common knowledge and background with subjectsthe will be and guarded quite be is can which community, slash the researching for benefits positive involved with something become acutely aware of its reality. Being aninsider hasclear knowledge will allow me tooffer abalanced view, because people who are closely pre-existing this having my opinion in but shortcomings, the over glossing while positive worldthe of horse race gambling,not to be its champion” (354). from [horse betting]” and thatin his study he desires to“demystify and portray adequately inaccurate”,adding that asaninsider,he is “fully aware of problemsthe that canresult assumption a memberthat is anautomatic advocate of his her or group frequently is On the other detail incidentof hand,a subjector if they are aware interviewerthe has similar knowledge” (42). Rosecrance(42). He also remarksstates that “[there]and he “could have obtained avery different picture by interviewing differentin [people]” is alwayshis a dangercontacts” and studypreconceptions [his] to according interview to going that was [he] “who selected an informantof horse will fill inbetting little data can be “influenced by [their]insider status from beginning”,the andhe admits that he that [studied] culture toask criticalthe questions” (111). Mitchell contends that insider researchers’ “a priorioften concerns that “thatdiscussion about research with Maori indigenousand people Bishop notes that there are insiders are inherently biased, or that they are too close to the It is often assumed thathaving aninsiderbias will causeone to focus overly on the There have been several criticisms madeaboutbeing aninsider researcher. In his 3 CEU eTD Collection advantage becauseallows it theresearcher toreject “strictthe dichotomy between understanding of and shared knowledge with the research subject(s) is cited asan and [share] livedtheir experience” (Charmaz xi).The abilitygenerate adeeperto themselves “in researchthe process, [respect their] research participantsand theirworlds, suggests that for thebest results when dealing with experience, researchers should immerse methods to develop anawareness its shortcomings.of Prus,a theorist intersubjectivity, on to find acommon understanding,and both can introspectively evaluate the research intersubjectivity and self-reflexivity; theresearcher andthe researched are working together researcherthe and subject(s) the being researched. These aresubject conceptsto the of between interactions inthe exists experience of use the of dimension Another considered. which to look at existing topics, and uncovers areas of study hadthat previously beennot “givingvoice” to the previously unheard groups leads to thediscovery of new angles from and researched can allow for more in-depth understanding of the topic being studied. The that theexperience individuals of some applies toothers and proximitythe researcherof the gain newperspectiveshad that been previously unexplored, the ability makeinferencesto study” (24). personal and the realization thatsubject no position is completely outside thefield of useful approach” that is gaining validity due tothe “trend in academic discourse to the “being embedded in a community – which we nevertheless study critically – can provide a that can lead to deeper insightif used appropriately. Busseand Hellekson declare that truths” (Mitchell 37), recentstudies have embraced insider knowledge as a valuable tool objective for search in the required was standpoint detached a necessarily that “assumption Using experience asa research method has many benefits, including ability the to 4 CEU eTD Collection meeta large sample of slashfans. Although this demographic still participates in slashthe to way easiest the were conventions when era, pre-Internet in the slash about information theirlate thirties (Bacon-Smith 332), asthey were themost accessible of source in women American of consist to tended which sample, the of uniformity the was studies common in slashthe community) orone created for this study. Onedrawback of previous interviewees apseudonym, tochoose either their current (aspseudonyms one arevery M*A*S*H and Serbia. I knew all but one of them through my participation in from United States,and the others are from Canada,Ireland, Northern Ireland,Germany, are them of Four twenties. in their being respondents of half about with 65, and 18 between aged slash), of writers also them of some and readers them (all fans female nine with in context. situated not and confusing possibly material source silencing very the people thatneed to be heard, and failinginterpret to enough, leaving the strike abalance between over-interpreting andpossibly distorting message the thereby interpretation to applyfurther to theissue raw materialthat is difficultythe in assigning agroup commonlyto which inferences based onexperience can apply.A gathered encountered from theobjectivity, its questionable subjects. authenticity itsdue to constructed and unreliablenature, andby researchers It is important isseveral drawbacks that be must intotaken consideration. the These include the potential lack of question to of how have described some positive roles anduseful for themuch useof experience,however, thereare consequences researcher'sof the interactions with those they research” (England I 209). researcher andresearched” and beself-reflexivewith a“careful consideration of the In order to document the experience of slash fans, I conducted e-mail interviews e-mail conducted I fans, slash of experience the document to order In , Sharpe , Stargate Atlantis and 5 Starsky & Hutch fandoms. I asked the asked I fandoms. From Eroica With Love , CEU eTD Collection 3 to which with depth and breadth the between trade-off the considering involved analyze the Internetand representing cross-section a of the genre.Selecting numberstories of a to would also perform a close reading of three slash stories written in English I writing. slash for inspiration as serve that these among characteristics identify to attempt texts.By referencing andanalyzing specific examples from sourcevarious texts, Iwill which patterns of agreement and dissention could be detected. were successful because of varietythe of opinions expressed by respondents,the within interviews the that believe I received, I responses the reviewing After unheard. voices some as isthislikely capture to morethe opinionated subset fan of the community leaveand to respond differently.Another possible drawback liesin elective the nature of responses, liveinterview setting,because the respondentmay, aftersome thought, decide they desire disadvantage is thatitcould miss an initial reaction to a question that would be evidentin a A potential answer. thought-out fully a construct and questions interview the contemplate their own time.diverseaccess tosucha respondents sample,answer and permit thequestionsthe to on The allow they because advantageselected were interviews E-mail community. the of demographics of this the method of be representative not would it perspective, another give men would including while is that it gives the respondentsage groups as well as different levels of participation in . time to sample,whichfeatures non-native two English speakers, awide rangeof nationalities and readership hasbecome substantially more diverse. slash Ihave attempted to capture thismedium in my distribution primary a as Internet the of proliferation the since community, I will only be looking at fictional person slash stories, as I am unfamiliar with real person slash (RPS). Another method that Iwill useis reading aclose of source the texts and theslash The samplelimited was to women as slash fans tend to be overwhelmingly female; 6 3 , obtained from CEU eTD Collection notes that “slashbeen hasnot adequately studied asatextual artifact” (118) due to the and the aspect of commentary through parody. authorship of question the include which texts, slash and texts source between interactions identities are changed by processthe “slashing”.of Further, Iwill examine the various identity.of will I reference queertheory offersas it anexplanation for how characters’the “seems tohave been overlooked in queer studies” (345), afield that studies flexibilitythe writing elaborates upon Dhaenens,these. VanBauwel andslash Biltereystargue that the how and writing, their inspire that source the in see writers slash clues what slashed, being lend to themselves slash.includes which sources This to from source progression viewed by its own audience. is slash how see to perspective fan the evaluate also will I scholars. amongst disagreement academic workonslashidentify to trends in theresearch and areas of agreementand distinctions important the between and genre the of origins the explain will overview historical The it. studying pre-Internet and Internet eras. I willwhat they may consider tobe important.thematically examinesample,can I still be criticized bysomeone within slashthe community for leaving out the prior judged tobe too small.Furthermore, nomatter how many or few stories are chosen for the picture of genre.the A possible disadvantage of the sampleis thatit can be potentially analysis of specificthe of text stories,those at the expense of gettingmore a complete perform my study. In my opinion, a sample of three stories allows for more in-depth In Chapter Three, I will direct my focus to the slash text as a unit of study. Stasi In Chapter Two, I will study the process of slash writing bylooking at the In Chapter One, I will examine the history of slash, and the body of research 7 CEU eTD Collection elements of mimicry and sexuality. slash stories which will identify they how take differing approaches to the important of three reading aclose andcomparison with and conclude slash text, inthe trends common identify to help can theory narrative how at look categorization, of problem the discuss which often took placeoverwhelming emphasis by previous researchersat on socialthe organization of slashthe fans, expense of performing detailed analysis of the text. I will 8 CEU eTD Collection 4 two distincteras: pre-Internet, characterized by ‘ assess genrethe and explain theirinvolvement in it. The history of slash canbe dividedinto self- fans how outline and topic the on literature relevant the review fiction, fan slash of Pierce: Hawkeye Blake: Henry consistent with several common themes. responses provide but reasons, their on agree always not do slash, writing and/or reading for motivation their about questioned when Fans, Internet. the by about brought changes the writingitself, although arethere now several recent studies which begin to address the strong social aspects of this period they focus to tend thecommunity on aspects rather than era, as they were compiled and written in 1980sthe and early 1990s and because of the distribution and community organization. Most existing academic sources study former the slash stories,as since early the online1990s, sourceshave become primary meansthe of tight-knitcommunity; and Internet the era, featuring increasing quantity and availability of See Glossary. In this chapter, I will present a brief historical outline of the origin and development origin and the of historical outline a brief will present I thisIn chapter, “He’s Gomorrah.” MacArthur] “CAPTAIN SODOM AND CAPTAIN GOMORRAH”: CAPTAIN AND SODOM “CAPTAIN SLASH FAN FICTION FROM KIRK TOHARKNESS KIRK FROM FICTION FAN SLASH [introducing the MASH staff to Radar O’Reilly dressed as General “Captain Sodom and Captain Gomorrah.” Captain and Sodom “Captain “Two of my captains...” CHAPTER ONE - 9 4 distribution of stories and a smaller, a and stories of distribution Mac”, “Big [points to Trapper MacIntyre] M*A*S*H CEU eTD Collection amongstfans (Thorn 172). community in the1980s after several volumes were translated into English and circulated (1976-), aJapanese sh and 1979) of Spock Mr. and Kirk Captain be to them intended she that clarifying male,people (one one whose gender wasnot revealed) makinglove”, with authorthe later sources physical,and geographical boundaries were often an issue” (13). Some other important “fandom was transmitted from person to person through enculturation.Fan artifacts were (Kendra Hunter qtd. in H.Jenkins 187).Busse and Hellekson note that during this time, although itwas not without opposition from those who regarded itas “character ” 48). During latethe seventies and eighties, slash becamemore common and diversified, thoughthave to originated in the names or initials, the emblem of the union at the heart of the genre” (Decarnin 1233), is 7 6 5 Time, the first known published slash story is thought to be Diane Marchant’s candidate. Private slash stories circulated among fans in latethe 1960s and early 1970s, but asserted that 1.1. “We’re by no means setting aprecedent” I am naming sources that are important either because of their size or their significance The first to wordsslash fandom.of the first known published slash story. See Decarnin, 1233. Japanese Japanese women'sgirls’ comics. and Wiseguy , Blake’s 7 ( published in fanzinethe 6 Slash fan fiction,sonamed slash the after mark(/) usedto“join characters’ the two for pre-Internet slash fandoms include television series television include fandoms slash pre-Internet for (1987-1991); as well as well as (1987-1991); The Man from U.N.C.L.E. 1977-1981), ǀ jomanga The Professionals ( Professionals The Grup III Grup Star Trek 7 by Aoike Yasuko, which entered the Western slash Western the entered which Yasuko, Aoike by From Eroica With Love in September 1974.Itdepicted “twonameless (1964-1968) fandom could also beaviable (1966-1969) 10 5 1977-1983), : A Brief History of Slash fandom, although some fans have some although fandom, ( Miami Vice Eroika yori ai okomete Starsky & Hutch A Fragment Outof Star Trek (1984-1990) (Coppa (1975- ) , CEU eTD Collection that it still is slash, albeit not in a “typical fandom” (Cein). (noctuabunda), and thusstories based on these series would notqualify,but others think slash” of element is an the “bending that think Some slash. are Harkness), Jack (US) stories written for fandoms which feature queer characters in canon Star Wars: Phantom Menace adaptations of Atlantis 1999), 8 television series include era Internet the of fandoms slash important Some site. the by instituted policies fans havebegun tomoveLiveJournal to clone sitesdue to the disagreementwith new as apreferred method of communication, especially LiveJournal.com, although recently generally geared toward onemain topic. recent In years, many fans havealsoadopted blogs bulletin boards, forums andmailing lists throughoutmost of nineties,the which were time have zones limit ceasedto fannish interaction” (13).Fans (including slashfans) used concern because access to acomputer is onlythe pre-requisite; and national boundaries and storiespost with relative ease.In newthe era,“financial resources have becomeless a of forms of reader-author interaction” (2), asit allowed like-minded fans tocommunicate and observe thatit“has changed sizethe fandom of its demographicsand andhas created new See Glossary. (2000-2005), or The Sentinel The advent of Internetthe was very important for slash - Busseand Hellekson (2004-2009) Harry Potter Highlander ( (1996-1999), , House M.D. House , (2001-2011) and (2001-2011) (1999). An important current debate in the fandom is whether 1992-1998), (2006-) (the latter featuring the omnisexual character of character omnisexual the featuring latter (the (2006-) Stargate SG-1 (2004-) and (2004-) 11 The X-Files Lord oftheRings (1997-2007), (1993-2002), (2005-) aswell screenas the (2001-2003) along with 8 , suchas Due South (2001-), Queer as Folk as Queer Stargate (1994- CEU eTD Collection “Pornography WomenWomen,By For Patricia Love”, With Lamb Frazer and Diana L. Russ’ Joanna include problem this exhibit that works Specific 81-82). Lovers” that certain features of suchK/S, asits utopian aspects, characterize all slash” (“Warrior have“some written slash about theorists if it only consisted as Kirk/Spock, assumingof the original hadseriesfor been 30years. over Salmon and Symons pointedly observe that when 1990s the into late even originated, slash where fandom be the to thought commonly of the earlyenough, even within genre the of slash itself” (“Warrior Lovers” 81).A common weakness studies of sometimes reached erroneous conclusions because they castnotfandid their netswidely fictionhave insightful, often and interesting always while slash, of students “[a]cademic that state and slash has been the1.2.1. Defining Slash overt focusperception of slash from a sociological phenomenon to an object of study in its own right.on to these questions,which areperhaps affected by gradualthe shiftin academicthe responses varying have main sources The comparison. for basis a as use they genres other finally,where locate they slash in the greater context of literature,and specifically which in reading and writing slash; thirdly, methodology the that they use tostudy slash; and involved be to women motivates what on theories their secondly, them; unite features key which and literature slash of body the constitute works what including slash, of definitions their firstly, topics: several of treatment their on focus will I sources, individual at looking When writers. by various forth put been have that theories the describe and fiction 1.2. Literature Review After reviewing the available literature, I concur with Salmon and Symons, who Symons, and Salmon with concur I literature, available the reviewing After In my literature review, I will examine the body of work that explores slash fan 12 Star Trek , CEU eTD Collection “a genre of fan stories positing homoerotic affairs between series protagonists” (H. Jenkins (H. protagonists” series between affairs homoerotic positing stories fan of genre “a slash remains similar inthevastmajority of sources. It has been defined in various texts as (109). it” constitutes what exactly on agree can people the where point the beyond gone has genre the that “probable is it that states she when slash of diversity the reasserts Pugh study (99) – as Driscoll notes, slash becomehas sodiverseitis that unfeasibleconsider to more asubset than in asingle examples, Woledge has warned of the dangers of going too far in the opposite direction, as has centered on problemthe reaching with conclusions aboutall few of slash basedon too drawn from very particular examples in lesser-known fandoms. While the discussion so far storiespresupposed K/S torepresent all slashas herconclusions aboutslash, areoften (27), shelifetime” a them last to Enterprise the of bridge the on enough long spent has isfiction fan also of studies many guilty read has “who anyone that declares sardonically Pugh Although examples. of the breadthsame of slash writing as a whole, they still fall into the trap of generalizing from toosweeping few multiplefandoms, be they old ornew, well-known or rare. While this better represents the statements as thosetheir conclusions are valid for all slash stories. writerssubsequent works, they suffer from the problem of essentializing when they suggest that who haveinsightful commentary on Star Trek slash in particular and provide agood basisfor Veith’s “Romantic Myth, Transcendence, and Star Trek ”. While these works provide Although the breadth of sources used in each study varies, the basic definition of definition basic the varies, study in each used sources of breadth the Although complicated assemblage is striated by internal hierarchies. (93) contingencies of the Internet orother meeting places, and real-life conjunctions. Even this subcommunitiesof shaped field by a friendship is groups,community every specific turn, In projects, membership. geographic interlocking location,or the of overlapping degrees varied “[…] every fandom is weba of communities distinguished by type,pairing, and/or genre,with to attention bygiving limitation this overcome to attempted have studies Newer 13 CEU eTD Collection in slash stories as gay: characters the of think not does she why fan explains One (198). source in the encounters” reconcile their reworkings with […]the evidence ample ofprevious heterosexual to women the allow […] may sexuality of their conception “this that suggests Jenkins H. and 198), Jenkins in H. (qtd. women” to unavailable not are characters] “slashed” [the experiences orgay orientations” (H. Jenkins Penley 220). thatposits as“non-homosexuals, “slashed” couplethe in for a “large number of stories which explicitlyidentity” deny previous homosexual sexual of “refusal a in results sometimes This bisexual. or gay straight, are as there is disagreementwithin slashthe communitywhether about “slashed” the characters common) is still slash, as mentioned in section 1.1. increasingly becoming are (which characters television queer about fan fiction whether about fan community the within is debate there as seems, it than complicated more is ends and begins slash where Still, is. it what on consensus is a there least at slash, interpret Lovers” 70). In general,although there are many theories and disagreements about how to “Warrior Symons, and (Salmon characters” media male expropriated are protagonists both in which women, for and by exclusively almost written narratives, “romantic/erotic and 53) (Bacon-Smith relationship” sexual/romantic a in engage community the in recognized 186), “a story in which any two male characters from the full range of source products anonymous cruising is not, in my mind.” (Ash-Leigh) portrays. It is not logical since promiscuity with women is acceptable butslash what bath to is houseslife ofgay prejudices and what my personal from translating see them cannot I because I, personally, am notfond of the thought that the character Iam interested like. actually I that of [slash] wasother’ aspect part each of love just the we not gay gay ‘we are culture infamous... isthe “There Another contentious issue in defining slash is thequestion characters’the sexuality, 14 CEU eTD Collection transcend thebinary category male/femaleof (Lamb 243).and Vieth Others, like Russ, whole yetconstantly fluididentity” (H.Jenkins 193)for their characters, slash fans and contend that by “combining elements of masculinity and femininity into asatisfactorily Some scholars,like Lamb and Vieth,emphasize(186). androgynousthe properties of slash stories masculinity” traditional to alternatives of “exploration for allows it that maintains Penley believes thatslash writing sets out to retool masculinity (127) and H.Jenkins homosexual love affairbetween men,two but love andsex as women want them” (83). menre-write as they likewould see to them – asRussputsit, slashas “not canbe a read to women allowing 191), Jenkins (H. identity” male reconfiguring about and masculinity (43) themselves?” if not that them give will exploredas they mighthave been. They from”want “more their andagain, canon, else who as being far from perfect orfully realized; they see possibilities in itwhich were never that “there is canon material which, though itdraws its readers or viewers in, strikes them slash fansfrom”“more want sourcethe material,as opposed to “more of” it. Shecontends is that by Pugh, proposed explanation, possible Another them. with identify viewers the and theories abouthow portrayals of characters in media the lead certain to trends in how nature, women’s into insight some provides slash how about theories categories: two into of sources attemptexplain to thephenomenon through various theories. Thesemajority tend tofall the so and relationships, male homoerotic about stories in interest an have women some why intuitive is not 2) It Lovers” “Warrior Symons, and (Salmon [slash]” write 1.2.2. What motivates involvement in slash? A numberscholars of seeslash“a as genreabout limitations the of traditional Many outsiders are unable to“imagine why any woman would want to read or 15 CEU eTD Collection be [...]? Whywe read do (with relish) about space pirates, neurotic rock stars, or “[Why] should anyone want toread about characters who aren’tanything they could ever in male homosexuality somehow be in interpretation?”,need of while Tennison asks “Why should men’s interestin ‘lesbianism’ be taken for granted whereas women’s interest rhetorically asks he when sentiment this echoes McLelland (101). fun” having just are enjoy slash and need no further justification; as Penley notes, “the fans […] would say they (H. Jenkins 191). “sexual fantasies, desires, experiences and onto male the seriesbodies of the characters” her projects and 126) (Penley characters” male “strong with identify to tends viewer female and feminine the stereotyping which to they were subjected.” (126-7), Thus, often, the Trek Star on least at that noting characters”, secondary female than protagonists male compelling Jenkins’“mass with H. Penley more vivid media that agrees assessment and constructs to re-writing male bodies is partially answered by H. Jenkins, who notes that often, Penley’s question of why women findithard to identify with female characters and resort (125) body?” a nonfemale to relation in only fantasies erotic write can they that bodies own their from alienated so fans women the are “Why querying Penley with forgotten, (83). other” the to one from constantly shift weakness and strength passivity, activity, focus on perceivedthe equality of slashthe couple and “the way responsibility,initiative, A final interpretation, typically put forth by the fan community is that slash fans slash isthat community fan bythe forth put typically interpretation, A final (194-6). characters. female autonomous for models appropriate find to or easier to rework or invert those assumptions than to create a totally alternative set of conventions menfor andalready codified withpatriarchal assumptions, female writers by and have often created found it traditions generic within work to Forced […] equals between heterosexual a create to needed characters female autonomous the provide not does simply media [the] not are slash with involvement in women’s issues problematic the However, , “female, characters … [were] marginalized […]by sketchinessthe of theirroles 16 CEU eTD Collection its literary properties, with Kaplan arguing that fan fiction (including slash) “has not been were “fans as academics.” aswell Thesestudies (1) tend often focus to slashon the and text and academic discourses fanon culture” and emphasizedall who that contributedthose of essays fan on fiction, wanted to“situate itat the intersection of fannishthe community assetrather then a bias. Forinstance,Busse and Hellekson, editors the of a recentvolume section my of thesis, they toembracetend their researchers’ insiderstatus,viewing as an it about slash,making slashthemain focus.object of As already stated in methodology the whothemselves asoutsideobservers happenjust tobe fans. writersBoth almostcompletely remove themselves from narrativethe and present fans. slash bythe (101) fans” academic the of “one is called she that states latter the and (3) Enterprising Women expertise. Some specific examples of the old-style studies of slash include Bacon-Smith’s thatusing of vehicle slashsupport asa a broader to argumentin researcher’s the area of was studies early the amongst trend Another text. the then rather community the studying whowere purportedly fans, maintaining asupposedly necessary air of objectivity and often phenomenon neededthat to beexposed for its supposed uniqueness,with the researchers, genre. their perceptions of the Early sometimesstudies itas asubversive treated social as film and media studies, anthropology and psychology, which has strongly influenced 1.2.3. How is slash approached? matches” inidentity Jenkins(qtd. C. Green, andH. Jenkins). simple or wish-fulfillment reasonable about isn’t Fiction princes? Danish melancholy Newerstudies, on the otherhand, use outside examplessupport to theirarguments Researchers of slash have come from a wide range of academic backgrounds such and Penley’s and NASA/TREK 17 : theformerlets a“colder mind [prevail]” CEU eTD Collection 9 Symons declaringbe slash “sosimilar to mainstream to romancesit thatcould reasonably manufactured misunderstandings femaleof the romance books” (82) and Salmon and the resemble stories] slash [in yearnings and hesitations “endless the that observing Viewing slash as a pornographic aspects partof slash, latter the its romantic aspects” (“WarriorLovers”, 74). of romantic areasthe ofmediafiction studies and cultural studies, former the emphasize tending to the for women is the most accepted,between slash and similar genres. with Russ multiplewe starta complete toget studiesdo picture ofthesimilarities and differences as romance and erotica. Only by looking entire atthe range of thinking issuethe on across world literary the tryinglocate to slash:its characterization when as auniquephenomenon with precedentsno inmeet sentiments conflicting two Interestingly, diverse. more is thinking recent more filledby slash. Earlier suggestions tended to bespin-offs of romancethe genre, whereas is little agreementamongst researchers, aseach study a proposes differentniche is that spheres of literature such as popularwomen’s literature and sexual-themed literature. There genres arecloselythat most it.Attempts to related locate are made slash to within several LocatingSlash 1.2.4. emphasis). author’s (135, work” nonfan-produced much studied Woledge contends that many early studies emphasized the uniqueness of slash – “ claimed by women for women ... produced without the control ... of censorship” (1985, 95)” (98). 95)” (1985, of censorship” ... control the without produced ... women for women by slash as“a unique hybrid genre”(1992, 480); and JoannaRuss felt that slash was “the only that slashwas the most “original contribution topopular literature”(1992); Constance Penley characterized Salmon and Symons note that “most academic interest in slash […] has come from A significant trendamongst studies of slash is toattempt toidentify literarythe as fiction 9 versusits characterization as a genre strong with parallels to genres such , astextunder that, aliterary criticism lens, canbefascinating as 18 CEU eTD Collection in/inability identifyto femalewith characters: noctuabunda declares that she tends interest of lack isthe factor important One explored. fully been not have that explanations new offer some while literature, in the proposed theories the to correspond these Viewpoint Fan The 1.3. genre. this of examples mainstream as Bradley Zimmer engenders intimacy” and (100) gives the work of Mary Renault,Mel Keegan and Marion describes itasa“homosocial in world which socialthe closeness of malethe characters intimatopia dubs] [she that world fantasy in a place takes […] fiction slash of a “subset that argues through makingitmore answerable women’s to interests” (134). Incontrast, Woledge to transform publicthe sphere by imaginatively demonstratingnovelists: how itcould be improved popular nineteenth-century female the as impulse same the embodies […] work writers’] slash “[the that maintains and study) in her on is concentrating she which slash, places slash in categorythe feministof utopian fiction (which is perhaps true of more or less porn” (91). of a scale butaxes between which every story can be plotted asmore or less romance and question of motivation or effect” and contends that these “genres are not poles ateither end this] is importantmore for whatit says about gendering of pornography than for any see slash as a“pornography for women, by women” (79), although Driscoll remarks “[that be classified asaspecies of that genre” (“Human Mating Psychology”). Others, like Russ, Fans, when questioned, offer diverse reasons for reading and writing slash. Some of Penley genres. inother fiction fan slash locate to attempts been also have There , because its central definingfeature is theexploration of intimacy” (99).She 19 Star Trek CEU eTD Collection words painting a naughty, dirty picture, meant solely arouse”to (MASHFanficChick) moreis pornography: be beautiful, artful. Some to butalso to titillate, meanterotica: the story. Some slash is neither; it's a relationship. Butbe elements of in a slashthe fic, they graphicare not essential” (Margaretstuff, Price), “I think someit depends on of it is think slash as a genre is different from erotica and straightforward“Some slash porn. While can these be can classederotica” (Ash-Leigh), to closer in betweenbut falls maybe somewhere or pornography under erotica and/or porna whole[…]. But not cannotall” (Debristhat subsets of slash beintersectK), with the genres of erotica“I and pornography,placed but that slash as into another genre:Alternate paths showthe *could've* taken” (noctuabunda). “I think certain characters.it Adeeper exploration of relationships there's than fortime on-screen. is closer toslash “because itgives [them] more than canon ever could.More interaction eroticabetween enjoying and Mariie) (Katie subtext” thanon based relationship entire an building of challenge to“the liking fans with canon, the from” “more wanting is reason Another struggles. power of absence the to due in slash Mariie) (Katie relationships” inthe equality “the enjoys accept” (noctuabunda) asshe dislikes popular romances, andanother mentions that she can [she] form in a is “romance that fan suggests One standard.” that to up live don’t make outwith (and more!)an acceptable substitute forme. And most female characters makechance outwith acharacter to a show, on TV so next the best thingis ifthey get to the get to going never I’m that “Iknow states Cein while men”, other with relationships mostly “to attractedidentify farmore with male charactersthan [shewith females does] sheso is] [… to series in which the main characters are men who have close When asked to locate slash within the sex-themed literature, many fansthought literature, sex-themed slashlocate within the When askedto 20 CEU eTD Collection most common factor is simply their enjoyment of the stories. the of enjoyment their simply is factor common most meaning, as fans often cite straightforwardthat theacademic explanations often overlook the simplestanswers in search of deeper reasonsseems It fans. slash of subsets different describe which theories, for proposed the of each to their interest invalidity some is there slash. that rather but proliferates, why slash for Perhaps explanation universal no is the Because isthere no general agreement among fans why on they enjoy slash,perhaps there their involvementis in echoed variousthe theories proposed in academicthe literature. subjectand experiencethe fans. of the fans Muchofwhatthe identify reason as the for Summary In this chapter, I have examined the history of slash, the body of literature on the on literature of body the slash, of history the examined have I chapter, this In 21 CEU eTD Collection Starsky: Hutch: Starsky: Hutch: and the paradoxical mimicry inherent to the genre. the to inherent mimicry paradoxical the and authorship of chain complex in the evident are which stages, these between interrelations the examines latter The source. the in perceived relationships the explores writing of act the how and in them subtext homoerotic existing an find fans slash which to degree creation slashof the story: which materials source commonlyare most “slashed”, the analyzing relationships the between formerthem. The dealswith specificthe in stages the second the and text, slash the to material source the from progression the describing first the sections: two into my analysis divide will I whom? by has, if it and there”, “put been really it has “something”, this is what But 234). (Bacon-Smith there” it put creators their] 202),and that they “perceive adeepandloving relationshipJenkins betweencharacters […because(H. material” [original] the within “found have fans its that something reflecting Starsky: Hutch: In this chapter, I will explore the assertions made by scholars of slash about it “No, no, that's the case between you and me.” “Well,figure it out. In a five-day week there’s about eighty waking hours, right? “Starsk, would you consider that a man who spends seventy-five percent of his time his of percent seventy-five spends who man a that consider you would “Starsk, “Yeah. Sure,why thatnot. I was thecase mean, between John [acloseted “What?” good kisser.” good a even not you’re and together spend we time the of percent seventy-five week, […] We work, eat and drink about twelveof those hours. Right, that’s sixty hours a policeman] and-” with another man has got certain tendencies?” […] [after a long pause] “Death in a DifferentPlace”, “AND YOU’RE NOT EVEN A GOOD KISSER”: GOOD A EVEN NOT YOU’RE “AND QUEERING THE(UN)SUB(TLE) TEXT QUEERING “How doyou know that?” CHAPTER TWO 22 - Starsky and Hutch CEU eTD Collection images,“actors […]consistently eachbreak intoother’s spheresintimate space”becauseof impliedintimacy. Bacon-Smith alsosuggests thatat least in the category movingof death situations” (Spangler 104, 107) which leadoften to ahigh degree of either explicitor characters whobond “because oftheir or other work circumstances […often]life-and- in male have to tend often genres these of all Interestingly, heavily. featuring also dramas variety) the are usual suspects, with fantasy,military exploits, espionage and medical sciencefiction and action/adventure (particularly police procedurals of “buddy the cop” particular, anintense male relationship; either a friendship orarivalry.The genres of 22). (Pugh movies in the role prominent a plays but novels Forester” in [C.S.] exist 10 the example re-writing of original the was source casethe of characterthe Archie Kennedy in books by P.G. Wodehouse) have been filmed and/or televised frequently. Oneprominent textual sources (such as the intersects with other categories, and is frequently not aprimary source, asmany popular It often being. into stories slash most the brings that one the isconceivably category images which a combinationare basedon of both textual and visualnarratives. ) novels, books/graphic (comic narratives as well as ) cartoons, games, video films, series, (television narratives image moving plays), (novels, narratives textual include 2.1.1. Source Materials 2.1. From Source to Slash Although anime origin, Although and popularmanga areofJapanese they inWestern culture. very become have Hornblower The most frequently “slashed” sources tend to have further common elements; in Several types of source materials commonly form the basis for most slash. These slash. most for basis the form commonly materials source of types Several television movies, who “does not, beyond a name and a couple of lines, of a couple and a name beyond not, “does who movies, television Sherlock Holmes 23 stories by Arthur Conan Doyle and the and Doyle Conan Arthur by stories 10 The moving The Jeeves CEU eTD Collection That is, slash fans are in a sense performing a queer reading of the source text, but this has this but text, source the of reading queer a performing sense in a are fans slash is, That transgression of boundariesthe topractices of queer reading and the theory of queer” (345) in particular” (14). Dhaenens, Van Bauwel andidentity Biltereyst argue that slash “embodiessexual a identity, abnormal and normal of designations underlie that systems “value classifications becomethen fluid andunpredictable,and suggests that this disrupts the contends thatqueering is somethingis that dangerous to systems of classification, as of possibilities the and identities, multiple identity, categorizations. Hall describes queer theory as “wholly enmeshed in discussions of identities andadistinctemphasis onbreaking stereotypes down and challenging established be seen its practicalas application given their focus shared on flexibilitythe of sexual can slash fact, in writing; their for inspiration an as serve fans slash by noticed hints alleged intimacy slashthat fans pick up on. Queer theory provides an explanation for why these sourceand text theproperties sourcegenre, of the which caneffect intense male the this kind of to themselves lend subversion. described have I that sources why the consider to is worthwhile it story Clues can be found in the homoerotic2.1.2. “Slashing” subtext perceived in the 233). (Bacon-Smith other” each named afterthe eponymous duo of cops who“always look like they can’tstay away from syndrome”, Hutch & “Starsky the phenomenon this fan termed One (233). speaking” cannotmaneuver appropriate social distances and still lookeach at whileother they are if “arethey shotin sufficientclose-up for the viewer toread facial expressions clearly,they To continuemy analysis of how sourcethe textserves asaninspiration fora slash 24 changing identity” (64). He also He (64). identity” CEU eTD Collection such an instance in the movie in the an instance such Many such moments go unseen by those whoare not looking for them. Penley describes viewers re-evaluate theirperceptions whathasof come and before whatwill come after. several are One form isthatspecificscenes types. and/ormake of passages that observant (342). dominantthe voiceis that queer of the scholar,[…] and audiences are often overlooked” gone unacknowledged by scholars of queer theory, since “in discussions on queer reading, cheek” campiness of the original TVseries” (100) Forslash fans, suchan exchange would “tongue-in- the called has Shatner William director and actor what of instance another just as one-liner teasing this took probably audience the of members “[most] that posits She (100) macho aliens,then turns back to Spock exchange to complicitousa look before lowering his hands. Captain, not in front of the Klingons.” Kirk directs briefa glance toward the known universe’s most toward Spock and reaches for himwithboth hands.Spock interrupts the embrace saying,“Please, Klingons,stands facing his firstofficer on the bridge of the Klingon ship.Glad to be alive, he moves …Captain Kirk, thought to be dead but rescued finally by Spock and some exceptionally helpful Slash fans perform a queer reading by picking upon perceived hints, ofwhich there Fig. 1 - Fig. Star Trek V: The Final Frontier Star Trek V: The Final Frontier 25 (Fig. 1): CEU eTD Collection in the source inin source towritethe slash order (m_l_h, MargaretPrice),but however, others, not do between characters, thingsleft unsaid” (Debris K).Somefans hints needthe be presentto interaction and chemistry “the and (m_l_h) affection” their of object the for or of, behalf language does notcome across as well, fans the look for “[the characters’] actions on (Cein)“missing and between-scenes moments” (DebrisIn K). textual sources where body know” to be expected wouldn't he/she maybe that another, about has character one that the two of them interacting outside of their normal working relationship, bits of knowledge of mentions characters, the between jokes “inside (m_l_h), touching” ‘casual’ of amount importantclues include “the way charactersthe look at each other, or if there's alarge the sources, images moving In interactions. physical and dialogue prominently most forms, from closetthe out into the open, making theinvisible subtext visible. renderingitineffective -slash fans are opening doors and pulling “hidden” relationships initiated assuch by a speechact ofa silence” (3).Ina way,slash destroys closetthe by concealment,invisibility and silence. Sedgwick speaks “closetedness”of as a“performance for metaphor is a which closet” “the of concept theory queer mind the to brings identified subtext, whether ornot it wasintended by creator(s)the of originalthe text. This this on based relationships of kinds new posit and text, slash in the explored then are which perspectives new offering point, that to up place taken have that events the of evaluation wherein thetext something does viewer/reader the not does expect it induce to, a re- meaning by deviating from “normal” expectations. be something entirely different,with the text transgressing aprescribedheteronormative Many slash fans pick up on subtextin sourcethe material, which can take various 301) Kekki in qtd. McRuer (Robert transgression” “textual of moments Such 26 CEU eTD Collection 11 screen”. on paths ever cross hardly they if even together, them wish to going is] [she show, same the on characters which is created in theof mind much of so the listener” and Ceinserials... notes radio that if“old sheto happens slash “tolike two compares Ash-Leigh – essential them consider Manga should be read from right to to left. right from be read should Manga Fig. 2 - “The Laughing Cardinals”, 27 From Eroica With Love With Eroica From 11 CEU eTD Collection aggressivemen attracted to themanliness they recognizein each other” (Millman 20)and One OutGets of Here Alive”is conclusion the a“testosterone-drenched of love story of problematic, even illicit, potentialities withinmasculine identity” (xiii). episode The “No masculine TV/filmactivities” noir topics the that argues Hatty 3-4). (Sanders sensibilities” and norms conventional from (174), and Krutnik contends that it offers “an engagement with of relationshipsidentities and tobeexplored in more depth. It canbe placed into the category series […]throughout season” the of story arc, in which atelevision series presents“several self-contained series within the infiltrates various criminal organizations. criminal various infiltrates Wiseguy climbing upthe mountain in tight-fitting trousers. mountains themselves, but rather with the way the object of his passion, Klaus, looks while the with do to nothing has view!” magnificent a “What observation the that understands reader sees(Thorn 172). Atfirst it seems like Dorian isthat admiring the mountain scenery, butsoon the he is rigidly masculinequite German intelligence officer” Major Klaus Heinz von dem Eberbach unsubtly the and Eroica, nickname the by goes who thief, art gay unabashedly and flamboyant admiring scenery of quite a different kind, and manga alsofeature differentlevels of subtlety. Thefirstexample (Fig. 2)is apanel from the TV noir Another example that has served as an inspiration for slash is the television series I will now examineI willnow specific three examples from different types of source text that From Eroica With Love (CBS, 1987-1990), acrime drama aboutanundercover federal agentwho , which just as just which , deals with, like urban crime and corruption are seen as “quintessential film noir , which details the adventures of Dorian Red Gloria, “a Gloria, Red Dorian of adventures the details , which is distinguished by “its discontinuities, its distancing its discontinuities, “its by distinguished is (Thompson 132), which allows the characters’ the allows which 132), (Thompson Wiseguy 28 is prominent for pioneering the concept the pioneering for prominent is CEU eTD Collection (Fig. 3). fight the of end the at post-orgasmically almost collapsing eventually another, one against disheveledmen rolling around on groundthe with their bodies touching and rubbing an average viewerwould see only an angry,violent confrontation,a slash fan sees two where them between fight a In men. Italian-American swaggering out, fallen two between rowdiness and grandstanding fighting, typical of consists glance, first at behavior, their is revealed toSonny. Steelgrave, astheir relationship culminates and Vinnie’s identity true as agovernmentmole federal agent Vincent“Vinnie” Terranova and mafiathe Salvatoreboss “Sonny” offers suggestions of masculineintimacy and hints longingof and desire between the around the (Clarkfoyer andResnick), anaggressive,upbeat, one-sided entreaty for love (and sex). Heleaps of the cinema, using a broom as an improvised guitar and later as The two of them spend most of the episode trapped together in a vacant cinema and cinema vacant in a together trapped episode the of most spend them of two The Later in the episode, an upset Sonny drunkenly sings the song “Good Lovin’” “Good song the sings drunkenly Sonny upset an episode, in the Later Fig. 3 - “No One Gets Out of “No Out of Fig. 3- Here Alive”, OneGets 29 Wiseguy CEU eTD Collection each other for just alittle toolong (Fig. 4).Sonny continues tolook atVinnie, whokeeps despondently croons phrasethe love “Iyou” over andoveragain -their eyes lingering on singer the as background inthe jukebox the on playing Satin” White in “Nights song love longing melancholy, -the other each facing silently, men sit two The spoken. not know how to respond to them or is afraid to. does either Vinnie,who to attraction love andsexual feelings of his unspoken communicate to by Sonny attempt frustrated a as scene view this might fan A slash exhausted. jukebox, by the collapses Sonny and ends, song the Finally, needed? is lovin’” “good the whom from “honey”/“baby” the song, the of audience intended the Vinnie Is love”. is want All I is / love I need “All love: for emphasizing need his song, the belt out continuing to on, As the song continues, Sonny begins smashing andthrowing anythinghe can get his hands how it ties into the whole picture: and performance its and song the of words the of meaning the question fan would slash a odd, somewhat being man angry adrunk, is of scene this of reading “normal” the Whereas unusual subject to talk about under circumstances:the rather be a to seems which youth, in his cinema same very in the he had encounter sexual drumsticks, singing lyricsthe loudly and interspersing his performance with a rant about a The climax of the episode takes place without any dialogue, yet volumes are cure…” got the you /and yeah, fever, the / Igot sure for it’s … “Baby now I said, be to alright?” your baby want you Don’t / me tight, / squeeze please, honey “Oh feel it.” still Tombstone while I was working my way through Maria’s wire-reinforced underwear…I can SONNY: “I got my firstfeel in the back row...Randolph Scottwas shooting his way through 30 CEU eTD Collection 12 says “I loved you, man” before electrocuting himself. bitterly and look, a final for Vinnie to turns Sonny penalty, death the faces and captured you said you had for me?” atVinnie. feel close Sonnyto.” later references thismoment, snipingabout “What all feelings those know, itnever occurred to me that we’d befriends… there’s a lot about whoyou are that I confesses toSonny hethat does notfeel as repulsed by Sonny as heis expected to: “You soundtrack to suggest a relationship, characters even discuss itat several points. Vinnie expected from supposedlythe heterosexual male characters. glancingback, unablelook away. to with fictionalizedthe Arthur Wellesley, Wellington, Duke of acharacteris who more significantinspiration for slash writing, andin particular stories pairingprovide the titular characteralso novels the movies, television of a series as dramatized been has it While These detail adventuresthe of Richard Sharpe, aBritish insoldier Napoleonicthe Wars era. I have described the episode as it aired originally on 12 November 1987 November 12 on originally aired it as episode the described have I A final, subtler, example comes from the from comes example subtler, final, A While previously the described scenes have relied onactions,imagery and the “contractual reasons, “Nights in White Satin” has been removed from the DVD version” (20). Fig. 4 - Fig. “No One Gets Out of “No Out of Here Alive”, OneGets At the end of the episode, after finding out that he is that out finding after episode, the of end the At 12 These are not the actions and emotions that are that emotions and actions the not are These 31 Sharpe novels by Bernard Cornwell. Wiseguy . Millman notes that for that notes Millman CEU eTD Collection the aspect ofarelationship between male characters. Flamingo,a well-known slash writer in characters and presence and/or quantity of sex are quite flexible,plots, all stories explore the someas such elements while slash; to central is that relationship this is It sex. suppressed), and in general beingin put circumstances which often in due course lead to andintimacy, perhaps confessing theirfeelings toone another (orstruggling tokeep them upon and amplified.The characters being “slashed” areshownin situations of closeness perceivedin sourcethe material by creating stories in which this relationshipis expanded Writing Slash 2.1.3. pulled from its original context as an allusion to patronage, reads quite differently: 14 13 thoroughly explored in books.the One passage from See Glossary. See Professionally written fiction (as opposed to fan fiction). fan to opposed (as fiction written Professionally Starsky & Hurch dealing with their relationship, or that writer isn't going to be getting me be to betterwell case. readdamned They another caresolve ifthey a lot Idon't bethere. ofto need doesn't and her stories. resolved forgood or ill. If the relationship is just “one more thing” in the story, then it is extraneous bemen paramount. I want the conflictand the plot to revolve around that relationship,whether itis or agenstory. WhenI go to slash, as awriteror reader, Iwant to see the thisrelationship story, then between it's going these to fail as a slashstory. If I want to readrevolve apolice around the relationshipprocedural, of the primary characters. I'll readIf the relationship pro fic isn’t biggest the issue in Slash writers explore the hints towards a deeper underlying relationship that they (71) ofneed. bond a but that, never of friendship, was not bond them. The between bond beena strange had there since ever weapons. Sharpe was not worried.He knew his man. He hadsaved the General’s life inIndia and andbattered scarredface withRifleman the dishevelled, hot sharply atthe look liked Wellington that aides-de-camp aristocratic the thatmade one reply, insolent an was sir.” It infantryman, an “I’m Don’t you“Dammit! have a horse?” came “I fastas as I could, my lord.” Sharpe.” Mr. your time, you took “By God, saddle. from the scowled Wellington up to the General and salute. Wellingtonwas angry, officersthe about him nervous of his irritability. They watched Sharpe walk that makes it different from pro fic pro from different it makes that While bestthe slashstories also contain conflict,character development […] and plot […],the thing fandom, states: 13 or even gen fic 32 14 , is that the primary focus of the story should Sharpe’s Sword , forexample, when CEU eTD Collection changes that keeps [them]glued to the screen/paper/etc. every time” (Debris K). and “it’s seeing full the emotional fall-out oreven development of a relationship andits (m_l_h), story” a to culmination excellent an be can someone that to them admit even or else,someone for feelings admitown their to character one “for stated that who questioned, for intimacy and relationship-buildingdisplays of power andsuppression of emotion, among other things (125). This preference over sex was a focus on common societies tend to in Western male relationships Kimmel society;observes, as in available themereadily not is which amongst relationship, of type this to theaccess fanscreating are fans Slash I in. interested most are fans slash that men two between relationship the of side emotional homosexual mode of life,companionship” and posits that “whatmakes homosexuality “disturbing” [is]much the more than thecan be troublingin affection, tenderness, friendship,sexual fidelity, camaraderie, and act itself”a portrayal of homosexuality as “a immediate kind of pleasure […]cancels(136). everything that It is exactlyhomosexual relationship rather than sex the that society finds hardtoaccept. Heargues thisthat competitor” (239). Similarly,Foucault theorizes thatitis this emotional side of the stripping oneself of one’s defenses, risking appearance the of weakness before apotential psychologically is to bevulnerable. Tryingmake to aclose friend of another man entails willingness toreveal deepestone’s anxieties and greatest weaknesses.be To close creating. Lamb and Vieth suggest that this may bebecause “intimate friendshipsrequire a Often more so than sex, it is intimacy that readers are looking for and writers are 33 CEU eTD Collection community, and insuchsituations, the individual of significant.concept authorship isnot There is (110). alot[…and] editors/publishers” of in fiction creativity fan the collective authorship a greatextent,is fanTo a product fiction not (along of individualwith also slash) - Penley notes ofculture”is[…and]from innumerablecentres the (149). quotations drawn atissue of that clash and blend original, them of none writings, of variety “there a in which space dimensional are no“multi-is a text the that argument Barthes’ Thisreiterates writers producers. and actors, clear divisions by created is product series) acollective (e.g.television source inmany the word; cases, among slash asmany authors, arenotinof authorialthem the products sense traditional of this readers, writers, readers/writers as sourcethe textand slashthe in text samethe time. Her approach defines visible the dichotomy of slash,which exists in consciousness its of thus notices similaritiesthe and differences, howevergreat orsmall,between them” (73). reader the and […] one old the and text new the in both together resonate texts two The newversion. the reads one as mindin even the isand remains available prior text The once. that “when one reads awork of common terms “ terms common version of Derrideanthe term reads the original she text, iscreating also anewtext.Derecho proposes usingmodified a is in the paradoxical situation of being simultaneouslyAuthorship and Slash 2.2.1. the 2.2 Relationshipreader with the Source and the writer. As she However, it is also necessary to understand the character of the sources usedby sources of the character the understand to itis necessary also However, Because lawsof the genre, of the slash the writer, like fan any other fiction author, derivative or archontic appropriative archontic to refer to this process, instead of the previously the of instead process, this to refer to writing […] one is really reading two texts at 34 ” (64, author’s emphasis). Derecho contends CEU eTD Collection even value” (8). perhaps and meaning, altering avoid can context a new into integration “no observes, with but forward, carries original themeaningsof a twist, asHutcheon the source (5).Theact mimicry of departs” as anorm from an ideal atleast […parody] the or which the original “is not the one to be mocked or ridiculed; but difference, have ironic an works between the The parallels if itsat the time writing. of anything, it is to be seen [...] as 15 Homer’s Ulysses humorous purposes, parody for Whileused often differences. highly contrasting butwith similar creating something can also be a valuable critical(Stim 279). It accomplishes the wider goal of highlightingtool. some aspect of the originalHutcheon by cites“imitates Joyce’s the characteristic that as awork term the of understanding popular the than isof broader parody concept style of an authorrelationshipthe of sourcethe and slash text isHowever, not anironic parody:the Hutcheon, according to narrative. [orimage/visual a work]text/moving basic the by given forimpulse initial comicwithout effect or ridicule”through subverting it. It can be defined as a parody genre, a genre that cannot exist by itself 2.2.2. Social Commentary Through Parody story. illustrate the to fan artist inspired a inturn acontinuation, which towrite writer another inspired astory write that to Sheproceeded adress. Dorian,wearing characters, the a write to friend a asked Ionce example, For See http://www.fried-potatoes.com/fanfiction/viewstory.php?sid=115 15 Slash is dependent onits source, but italso constantly transforms sourcethe as a prime example of such an analytic parody; it clearly follows the story of Odyssey , but by changing certain plot details, provides commentary on society on commentary provides details, plot certain changing by but , 35 From EroicaWith Love story with one of CEU eTD Collection whether heterosexual or homosexual, for the principal for theprincipal characters. homosexual, or heterosexual whether by amplifyinghighlighting these stable thelackof andthereby relationships relationships material thesource parodies thus (MASHFanficChick).Slash tears” through each other hold even sometimes and hug, touch, they close: physically even they're that canon it's and lots of times, love that other, each they down, leteach other never will characters the clear that friend. madeso It's best male The pick pieces? the up “who’s to there women, evil” worst andfleeting, at best “at with trysts after thenumerous that fan observes One malecharacters. theleading bondsbetween thehomosocial in factoften series are insuch of (21).The shipped stable relationships town” was most shotor out promptly devotion the Any between leather-clad cops. threatened romanticserious two prospect the Starsky & Hutch about As wrylynoted Nussbaum for astablerelationship. heterosexual opportunity supposedly theirreaffirms masculinity, it although also denies these characters the promiscuity This episode. every nearly interest romantic female new a have to seem “revolving the (H. Jenkinsinmalesyndrome, which 176)or bedroom heroes door” the “thecalledMany suffer of series from deadgirlfriend hasbeen television week” the what may doubt. cast their though actions be heterosexual even to reaffirmed consistently are characters the as emerge never intimacy this by at hinted relationships homosexual earlier that point towards male intimacy which is usually denied or defused. The potential described “clues” the specifically, in source; the relationships these of characteristics the and from source underlying the tensions positingit alteredrelationships,highlights Slash is a parody of this critical variety. By transcribing the characters, settings characters, the transcribing By variety. critical this of Slash isa parody – “no matter how many –“no slinky 70’s dames theirpath,nothingcrossed 36 CEU eTD Collection enough” (“Day One”) and is shown frequently kissing, touching or dancing with other men other with dancing or touching kissing, frequently is shown and One”) (“Day enough” exceptions, such as homosexual physical affection is rarely visuallyshown ontelevision.There are certainly violence”,generally cast asavillain adeservingor victim Additionally,(91). explicitly often leadsmasculinity menof the around [him]” (59), and tothe tragic homosexual whose sexuality his demise,sidekickbest, at“used to suggest homosexuality andserve to as yardstick for the given malethat queer characters which have“homosexual prevailed until today: the comic, harmlessportrayal of queer characters inmovies, the identified Russo sissy persistent two stereotypes of who is a subculturestereotyped and restricted to theperiphery. “The Celluloid In Closet”,study a of the [was seen as equaling]Price). (Margaret Internet” the fiction on of slash huge amount a such be wouldn’t there not, were they If want. actually people what to comes it when clueless and “is completely (Ash-Leigh) slash provides” want what who of group people anentire needsof tothe cater not media “does the that stating concur, Others Mariie). (Katie counterparts” heterosexual astheir dynamic or interesting as aren’t relationships more becausethose for arestill clamoring fans the have gay couples, of series handful believable, homosexual in compelling when […]Evennow relationships themedia. a lack of tothe is“a slash response in her opinion, that fan remarks One misleadingly. and asexually often presented are gays canonical arenevergays gay, the and prevailing unrealistic of Atleast depictions homosexuality. on ambiguoustelevision, the the attention surprisinglymedia,to turns our popular inoccur slash the regularly which homosexual relationships potential-but-never-realized the parodying By Indeed, many depictions of gay characters in visual media tend tobe strongly Torchwood , whose Captain Jack will “shag anything if it’s gorgeous 37 CEU eTD Collection in “real the and media world”. the Slash lack providesboth therefore visibility of on such relationships commentary the of theyfindmost compelling. state men slash readers between which relationships intimate them similarly. While the writing is often sexual in nature, itis the portrayal of caring and express these deeper relationships is meaning. a way Writing slash new to canreviewthewith samematerial this subtext, and explore them viewers,explainpicking readers and upon how upon to helps presentation. Queertheory in the company of others dramatic andthe structures, relationship the dialogue, character the onpage), screen or who see subtext can in many exist of aspects sourcethe material,including visuals its (whether on how of examples have shown media. I in the characters queer of portrayals on provides of the various sources on the slash story; and the reflexive commentary which slash influences cumulative the describes which authorship, of chain the story; a slash of basis become the is to material amplified in source perceived the subtext homoerotic which the source material and the slash story. This takes several forms: the process of “slashing”, in Summary show’s two “gay” characters” (Provencher 180). certainly nosuggestive hugging kissing or [appeared] on smallthe screen for either of the major gay characters provided “virtually novisual display of same-sex affection […] and (and women) onscreen.Nonetheless, In this chapter, I have reviewed the chain of connections that exists between existsthe between that of chain connections I have the reviewed In this chapter, Will & Grace 38 , a recent US television series with series television US recent a , CEU eTD Collection Ianto Jones: Martha Jones: Ianto Jones: Martha Jones: Ianto Jones: Martha Jones: model of the key elements of slash based on my observations. on based slash of elements key the of model improved an in proposing me aid will This bonds. underlying common the identifying several slash stories, andusemy observations toexplore diversitythe genre whileof the their content, with varying degrees of success. Iwill then follow up with a close reading of fans themselves. Therehave beenmany such attempts to classify slash stories according to critically analyze existing the categorizations, both in academicthe literature and by slash are allowed tovary,in define attempt an to essence the of slash.Specifically, firstI will order to find out what common elements are shared by all slash stories, and what properties and perform a close reading and analysis trends, identify common to lens narrative theory the of slash through at writing look fiction, of selected slash stories. I will examine these in In this chapter, I will study the categorizations that have been applied to slash fan slash to applied been have that categorizations the study will I chapter, this In “Bordering on the avant-garde.” the on “Bordering “Innovative.” “We... […] dabble.” “Really!” “So what's his ‘dabbling’ like?” “So,amI inrightyou thinking that and[Jack]...” ANALYZING THE SLASH TEXT “INNOVATIVE DABBLING”: CHAPTER THREE 39 - “Reset”, Torchwood CEU eTD Collection themes like“Aliens MadeThem Do It”, and universal themes like“Jealousy”. Atlantis a common themefor example, - anindex for theMcKay/Sheppard pairingfrom popularity is cross-site thematicindices have that beensetup to collect links tostories with AU (e.g. setting on or (prose/poetry) commonly based on film ratings used by MPAA 21 20 19 18 17 Captain : “You people and your quaint little categories.” (“Day One”, PWP (e.g. time” (e.g. McKay/Sheppard vs. Beckett/Sheppard in to other forms of fan fictionrelationship its (slash on vs. hetbased those are slash of classifications fan-produced common most The classification, about which Propp cautions in “Morphology of Folktale”:the possible and even perhaps necessary. This isaspecific caseof the general problem of diverse range of stories that existwithin thegenre suggest that further sub-classification is 16 3.1. “Quaint Little Categories” See Glossary. See Glossary. See Glossary. X). as known (previously R,NC-17 PG, as Such See Glossary. OwenHarper: 19 , established, relationship); and onplots (fandom- orgenre-specific)lack or thereof extracting it from the from (5) it material the itself. extracting majority of researchers begin withclassification, imposing it upon the materialfrom the reverse: without the precisely is and notwe however, see, What study. preliminary of certain result be the classification. But althoughclassification serves as the foundationstepsof scientific in a all investigation, description. The accuracy it must offurther itself all study depends upon the accuracy of [it] must be divided into sections, ie, it must be classified.extent, full its once in at Correctbe studied evidently cannot and diverse, classification exceptionally is [material] the Since is one of the first the entity, monolithic a as classify to easy seem initially may slash Although contains fandom-specific themes like “After Atlantis”, the more common sci-fi common more the Atlantis”, “After like themes fandom-specific contains 20 ). Some other possible classifications include those based on style on based those include classifications possible other Some ). [in response to response [in Gwen Cooper kissing awoman] 16 : Problems of Classification 21 ). Another categorizing approach isthat gaining 17 or gen); on fandom (e.g. fandom on gen); or 40 Stargate Atlantis 18 ), on types of relationships (e.g. “first relationships (e.g. of types ), on “I thought she saidshe had aboyfriend?” ), on explicitness (most explicitness on ), Star Trek Torchwood ), by pairings ) Stargate CEU eTD Collection the Cortinathe rating system by starlaces used for thatsubtly subvert process the of categorization by being purposefully An odd. exampleis explicitness on based systems categorization created have fans Some System. Rating Rated leading various archives to switch to other systems, such as Fiction Ratings or The Fan 24 23 22 and which differentiates between happy and disturbing stories. MPAA ratings, the than content sexual with fiction fan for fitting more are that explicitness of levels five are there inwhich Wombats!” Angry featuring System Ratings All-Purpose Slashers New “A Proposed tongue-in-cheek Smith’s Chris on is based It show. the from car various degrees ofexplicitness arerepresented by a color-coded picture of Fordthe Cortina after anumber fans of received cease-and-desistletters alleging trademark infringement rating system is common (see Lamb & Vieth 237, Russ 80), butithas declined since 2005 dependent a on ratings system isthatnecessary not toit.suited Theuse of MPAAthe theme. or plot be another’s might genre person’s – one represent setting ortheme canbe challenging as well,as thereis agreement nowhat these terms comfort separation of slash from gen and het is not always useful, especially since some gen hurt- over another and do not manage to convey the full meaning of the story. The strict people ofopposite genders” into “bitextual” the category. issue by putting stories that“contain both same sex relationships and relationships between separate slash andneatly. het Some fan fiction archives, like Wraithbait, resolve latterthe See“The RatedFan Rating System”. http://www.wraithbait.com/browse.php?type=categories See Glossary. All abovecategoriesof the areproblematic,as emphasize they characteristic one Categorizing slash by explicitness is challenging as well, since this categorization is 22 stories is occasionally quite close to slash, and it isand it toslash,not always close also is quite stories to occasionally possible 41 Life on Mars 23 Categorization by genre,plot, (UK) fandom, in which fandom, (UK) 24 , CEU eTD Collection slash stories and find common themes. At the most basic level, a narrative is situation(s) is a narrative level, basic most the At themes. common find and stories slash plot elements of a slashalmostall a very to stories) specific slash case(atypical wecan breakplot), down key the story. This abstraction(Jahn N1.2). By looking atstory models, going from mostthe general case (applies to allows us to communication whichmap asequencepresents of events causedand experienced bycharacters” plot elements betweenmust be preservednecessary and which author’s areatthe discretion, aswell as which elements of sourcethe and which are elements identify whichstory can beginto we theory, lens narrative of the slash through are flexible. In general 3.2. Narrative Structure terms, a narrative is a “formhis listed categories. of of several to belong does usually can and fiction, fan all like story, slash a single actuality, strategies” (177) and discusses slash in-depth only in context the of eroticization. In rewriting of full range the encompasses literature fan of work single “no that mentions He 25 re-write its source, and included the following categories: of categorization. His focus was on the different waysin which fan fiction as a whole could See Glossary. Slash stories, like all stories, conform to a general narrative structure. By looking at Of academicthe studies, H.Jenkins’is only the todeeply one explore question the 8) Personalization 8) 7) Character Dislocation Overs Cross 6) 5) Genre Shifting 4) Moral Realignment Refocalization3) 2) Expanding the Series Timeline [ Recontextualization 1) 10) 10) Eroticization 9) Emotional Intensification [blurring the boundaries between different texts] different between boundaries the [blurring [exploring the erotic dimensions oflives characters’ dimensions the erotic [exploring [focusing on secondary characters] onsecondary [focusing [shifting the balance between plot action and characterization] and action plot between balance the [shifting [ stories] Sue [Mary [turning villains into protagonists] into villains [turning [filling source] in the original gaps in [filling [removing characters from their original situations] original their from characters [removing [emphasizing moments of narrative crisis] narrative of moments [emphasizing either to pastor either to thefuture] the 25 42 ] (162-177) CEU eTD Collection model provides more detail. Mariie’s Katie stories, time” “first all basically to applies it as universality provides model or the characters may fullynot resolve question the of their sexuality. WhileH. Jenkins’ so specific,not all “first time” stories adhere rigidly it,as to there may furtherbe setbacks describesmore detail in how phasesthese typically play Of out. sincecourse, model is her and dystopia/disruption the of nature the upon expands it but Jenkins’, H. to similar independently suggested another model for a“first time” story (Fig. 5).Her model is becausestate, havethey acknowledged their mutual One fan,desire. Katie Mariie, initial the from is different that equilibrium an to return characters the story, time” “first a where H.Jenkins’ version has more specificity because itrefers to aspecific story type. In phases, the through progression obvious same the with formulas, Todorov’s to neatly very map These utopia. masculine and confession dystopia, masculine relationship, initial the as union, toward itsthat reconfirmation through sexualdisrupt intimacy”to (206). Hedescribed these phases threatens that communication in crisis a through partnership, initial an from movements of series a involves […] formula narrative “the story, time” “first typical a in aim clarifying (Fig.5) with transitions of how the these occur. model the to refinement further an even proposed also He situations. between transition the of point isthe disruption the that isclear it model Todorov’s In 5). (Fig. 27) (Lacey changes” slight with perhaps situation, initial of reinstatement a allows which problem the of resolution a situation; the disrupts which problem a situation; initial of consists structure narrative conventional of basis “the that suggests Todorov events. by transformed In studies of slash, asimilar attempt was made by H. Jenkins (Fig. 5). He noted that 43 CEU eTD Collection established in source.the order the upset which feelings intense of form inthe disruption a with start often it plays out and how to how devoted story the of majority the with thefiction, fan in immediately almost resolution occur can is achieved. disruption the many cases in Therefore, setting. the establishing to be given must attention In the case of slash in particular,situation, for example by putting characters in an alternate universe, so in storiesthese cases, more introduced if the readerlargely implied by source.the is The characters, locations and situationsalready donot need to be familiar withworks and borrowing existingsettings and characters, theinitialthem. situation is often partly or Some stories doamount exposition devoted of initial tothe Becausesituation. they based onpre-existingare change the initial Specific specific More Less Slash narratives, like all fan fiction, often differ from traditional narratives in the in narratives traditional from differ often fiction, fan all like narratives, Slash 3. A recognition that there has been a been has there that A recognition 3. 4. An4. attempt to repair disruption the 1. A state of equilibrium at the outset 5. A reinstatement of the equilibrium ofthe A reinstatement 5. 2. A disruptionof the equilibrium by 1. Initialsituation General narrative General (qtd. inLacey) (qtd. (qtd. inLacey) (qtd. 3. Resolution 2. Disruption some action disruption Todorov: Todorov: Fig. 5 – Narrative Models 44 5. Resolution: acceptance of sexuality acceptance Resolution: 5. the men lose inhibitions (i.e. alcohol, 2. Conflict that makes one or both of both or one makes that Conflict 2. 4. Panic over “change” insexuality “change” over Panic 4. personal trauma, physical injury) physical trauma, personal and beginningand of a relationship 1. Unspoken1. (i.e. kiss, sexual intercourse) sexual kiss, (i.e. and deep friendship/enmity 2. Masculine 2. Masculine Dystopia 3. First sexual contact 1. InitialRelationship 4. Masculine 4. Masculine Utopia Katie Mariie: Slash narrative 3. Confession 3. H. Jenkins: CEU eTD Collection reflectvarious sources, andwill focus first conceptthe on stylistic of mimicry. Salmon and 3.3.1. Stylistic Mimicry a sexual relationship in the slash story. mimicry transferenceand the content,of and latterthe deals with how subtextthe becomes presented and amplifiedin slashthe Theformertext. is characterized by aspectthe of slash: relationships the thesource with material and homoerotic howthe bonds are from muddledthe presentation. Ihave chosen stories which highlightmaintwo features of meaning underlying their extricating of challenge added be the would there as difficult theories should also apply to poorly written stories, the analysis of these would prove more theory because the writingitself is clear andnot serving asanother obstacle. While the original source where itclarity is important. of writing and properWell-written spellinglost (Pugh 110). I will attempt to choose storiesas of a high quality,payingwell attention to the storiesas attempts willto write bein besta namesthe style of protagoniststhe without repercussions; thecontext source of the has been text forappropriate relating to to the characterizations, often humorously referred to as“any guys”two stories asonecan replace of identity.However, there is no quality control which often leads to poor writing and bad concept with the play be and around heard chance to hasthe everyone so work, thisof body inclusive natureof slash meansspecificno that qualifications arenecessarycontribute to to The bad. and good both be can this audience; wide a to work their present can anyone ofStories ofaSet Analysis 3.3. I have chosen three examples todemonstrate the differentways in which slash can Slash stories are written by people of all talent levels and thus vary in quality as 45 CEU eTD Collection vary significantly between slash stories. In the stylistic and elements content.Which ofthesefeatures and towhat degreethey usedare can both include can which 82) Lovers” (“Warrior derived” was it which from [source] the of Symons state that “any given instance of slash necessarily idiosyncraticpossesses features Even after they become romantically involved,Jeevesforefront. continues to referthe to Bertie as“sir”at remaining formality with original, the in established is that setting class Young Tuppy”). Thelanguage maintains the proper dignified tone befitting of upper-the of Wodehouse’s shorttitles the storiesof some (such to as “Thenext Rummy Affairlisted of when Old Biffy”place or of “The Ordeal out look of not would story this of title the Even Mind”in which Jeeves defends their “cosybachelor establishment” (Wodehouse 230). particularly insimilar tone only to the Jeeves-narrated story in “Bertiecanon, Changes His willbe. story the to resolution possible the what outset Thisintroduction, duetoits reflective asa nature memoir,lets the readerknow from the employer is deeper than it may appear: acknowledges her audience through Jeeves’ explanation of hishow relationship with his narrated Jeeves,of whose thoughts go unvoiced in originals, the which arealmost universally the language of P.G.Wodehouse’s novels. Interestingly,she writes from the point view of by hisWooster’s Headaches”, Sky Blue Reverie pairs upthe titular characters whilemaintaining employer, Bertram Wilberforce “Bertie” Wooster. The author This story very closely mimicsto ourcurrent understanding, although these pages can, of course, neverbe published. associated with such a revelation. I haveconsequences therefore social and taken legal it upon myselfcatastrophic the to describepotentially the to due how we came relationship, ofour nature exact the discussed explicitly writing never has he however, myself; and Wooster Mr between regard many of my actions andwords in hismemoirs. Anobservant readerwill have noticed the styledepthof WoosterMr extensivelyhas written adventures, enough about been toincludeand his has kind of P.G. Wodehouse, and is 46 Jeeves & Wooster story “The Matter of Mr CEU eTD Collection from the circuitous language that is used to explain simple situations: simple explain to used is that language circuitous the from derives story, slash in this and stories original inthe both humor, the of lot A habit. of out form of excerpts from hypothesized scholarly works: inthe shown historians, by future events of these interpretation the with story the of events Rodney McKay. This story uses an interesting narrative technique which intertwines the which details arelationship between of two mainthe characters, John Sheppard and deeds. The last line in is particular a very humorously euphemistic way describe to their sexual " eyes withhe said, his interest. glimmering mind," in you had that whatsit consummation this me show could you I washoping say, to mean "I Isaid. sir," good, "Very very moment," he said. "And stuff wait."the tea. Teacan He stopped mewith ahandon my arm. "Well,didn’t I meanyou for make to the arrangements this to rise. beginning Iasked, now?" your tea youlike Would "[..] sexualbond. the peoples ofPegasus. Itwas this that drew them together, not some imagined and unlikely demonstration of them: McKay, no less than Sheppard, was ideologically committed to protecting interest account isthat, inthis particularcontest, somehow betrayed hiscivilian principles in his support of Sheppard. What this fails to take into togetheris as offensive andwrongheaded sleeping as the argument were they because that Weir's he is trying over to side counter: that McKay Sheppard's took McKay that claim Dugan's Paul —Paul Dugan, situationentirely. military ratheryears, and, if later events arethan any indication, very likely ashis lover. To see anMcKay'sSheppardJohn decisionas anAmerican military expressionofficer.Sheppard aspro-was friend, histeamhis leader forfour officer.ofI shall save thesethe historians any furtherdepthwear on their quills: Rodney McKaya Canadianof onedidn't at that!—couldthink of possiblyhis have given control offeelings Atlantis to anAmerican military Otherwise sensible historians continuefor to spill ink debating how RodneySheppard McKay—a scientist, and is to mistake the Another example is Speranza’s enthusiasm, some andthat before itwas quite of either time us got any tea. Without going into unnecessary detail, Iwill reportthat our union was then consummated with great Very good, sir," I said again. I said sir," good, . McKay's. with siding Sheppard is therefore notan abandonment of his principles but a A Political History of Atlantis Stargate Atlantis 47 it was who JohnSheppard representedthecivilian , p. 105 story “Written by Victors”,the CEU eTD Collection false clues about the identity characters.of the In the source material,Klaus ismore foul- by giving reader the misleads intentionally even author The story. of type this to comes it and Klaus is the “torturer”, because they are typically portrayedin oppositethe roles when “captive” is the Dorian find that to is surprising it fandom, this with familiar a reader To following passage: until andleft “captive” “torturer” unstated are the endof identities of the the the an interesting commentary on the use of clichés. From the beginning of the story, the elements. stylistic the replacing largely while content the of some maintains story this material, source very the faithful to story remained when thewhereas previous astory; creating academic historical This story writing. shows the flexibility which employslash writers namely source, another of but series, television original the of not is therefore story this interpret original the as source containing clues toa relationship. Thestylisticmimicry in fans slash how on commentary as be seen can passage quoted The happen. they as in itis of shown involvedevents the narrative readerknowsbecause the sexually they are characters, the between relationship the of nature the scholarsdebate future the Although sadist.” “Just finish torturing me and have done with it!”Dorian spat, pulling at bindings.his “Bloody “Better?” gag. the by followed removed, was blindfold Isn’t it fucking obvious by now? “You […] noises. angry impressive very some making and place, in This was the final straw. The captive started to thrash violently, straining at the ropes holding him “And I here thought you’d enjoy this.” —Ronald Koble, —Ronald “To Take By Force”, a ByForce”, Take “To don’t like this, doyou?” tone The actually sounded surprised. From Rising to Uprising FromEroica With Love The captive shook his head vigorously. To his surprise, the surprise, his To vigorously. head his shook captive The , p. 24 48 story by Margaret Price, by provides story Margaret CEU eTD Collection future Atlantean historians trying to interpret routine aspects of modern Earth: modern of aspects routine interpret to trying historians Atlantean future from being passage intelligible last the with tongue, an alien to English contemporary story,the consequencesof the becomeas apparent this languagegradually the from shifts endof the Towards original. the of continuity the breaks eventually rebellion described Victors” departsclosely the stories.Wodehouse’sdomestic of situation typical short “Written by the somewhat very echoes Headaches” Wooster’s ofMr “The Matter more; vary somewhat plots from the of mannerisms,originals.their and situations style of The generaldemeanor speech, and established habits and to the toreproduce areattempts in stories allthree The characters sources. plot in the television Content 3.3.2. Mimicry series, as the a form of parody-based commentary.in twists writer the which fandom this in plot overused typical a is from borrowed being is is textual rather than visual and because the conventional plot is completely dropped. What the original; thepresentation here is completely unlike the original manga, both because it original butsource, rather of clichéd stories. slash Only charactersthe aremaintained from saysis more easily identifiable with Dorian. The stylistic mimicry of this story is not of the isit easyfor the reader tomake assumptions based this.on Similarly, “torturer” what the mouthed and angry, and in this story, it is the “captive” that is swearing and struggling, so — Hannor Janettan, now, we must make do with the quotidian realities of Atlantis. from us now, swept away by history. Perhaps some day we shall discover AUTOMOBILES its EARTH and chance of again, but for games MOVIE its PALACES, and temples WHEELS, FERRIS its and fairs county its pleasures: And those who knew him said that sometimes he still grieved forthat lost world and its simple In addition to stylistic mimicry, the stories also borrow much content from their Earth: The Lost TheEmpire Earth: that rolled along the ground. Those days seem impossibly far impossibly seem days Those ground. the along rolled that 49 CEU eTD Collection 26 andhis Jeeves between employer relationship of master-servant close a resultlargely the that is content added sexual of amount the and is amplified, original the in perceived by subtext the how the writer. For instance, the Subtext…” Spell Can’t “You 3.3.3. subtext in the originalprovided by the many possible sources, contributes to the versatility Jeevesof the slash genre. stories content of out diverse already the content diverse creating flexibility, This creations. is own with author’s the these replace completely almost whereasothers content, original the of facets all almost maintain stories slash Some setting. and plot with flexible more much are they aspossible, asfaithfully source the from characterizations the reproduce writing. clichéd on commentary author’s slash settinghave been newly created to allow an exploration of the relationship as well as and the plot the story, this In source. in the dungeons sexy no are there enjoy, probably newin much Dorian setting.would As as havebeenplaced acompletely characters but original, the in tension sexual unresolved is there as plausible is relationship andplots settingsin manga.aremaintained, described characters the andthe The any comparable to individual “ToTake completelyepisodes. by Force” departs from the as rather than a spin-off orshow, series of anotherthe season to as comparable compatible with original.the long-term because its Perhaps, itof story arc, could beseen series by envisioningthis future, by of an alternate in end the content the is not story this itsBecause of departure from significant plots the andin established routines original the “You can’t spell subtext without buttsex” – an anonymous Internet saying. Internet –ananonymous buttsex” without subtext spell can’t “You Another of dimension of slash writing is its sexual nature, which comprises both comprises which nature, sexual its is writing slash of dimension of Another By looking at these stories we can see that while good slash writers try to 26 50 CEU eTD Collection professional devotion into a romantic devotion. a romantic into devotion professional Jeeves’ to transform ahugeis not fansit stretch men,for slash two and between relationship a typical not is This in charge. feel to him allowing while the all lady), young call of rescue duty to him from situationsawkward (such engagementsas with many a domestic senseof cooking, aswell and cleaning, dressing, regularly as beyondgoing the in both Wooster the careof takes andJeeves Theylive together, Bertie Wooster. Fig. 6 - “Tuppy and the “Tuppy andthe Fig. 6- Terrier”, 51 Jeeves & Wooster CEU eTD Collection overwhelmingly mostthe in popular fandom; the time both The together is and pairing friends. professionally Sheppard/McKay as high-ranking Rodney on muchAtlantis,McKay and are both spendpersonnel therefore between them and toan points emotional closeness explorethat's appealing to further”. existing vulnerability a of sign a almost “is them between trust of level the that notes regann in peril. is other the when concern strong and abilities other’s each in faith show bantering, bickering and teasing duringother each downtime, but when danger arises they off, as can be seen on the panel following the one seen in Chapter 2 (Fig. 8). notsharedoes feelings.these Dorian frequently makes suggestive remarks thatsetKlaus vehemently Klaushis toKlaus,butadversarial, rather isabout attraction open Dorian as Stargate 27 As of June 4, 2009, Sheppard/McKay stories comprise 3260 out of 4537 slash stories on the Wraithbait (a Wraithbait on the stories slash of 4537 out 3260 comprise stories Sheppard/McKay 4,2009, of June As Atlantis fan fiction fanAtlantis archive). In In the television series television the In From EroicaWithLove Fig. 7 “Before- I Sleep”, Stargate Atlantis , the relationship, the between Dorian and Klausishighly 52 Stargate Atlantis , the characters of Sheppardand of John characters the , 27 in the show, they are constantly are they show, the in CEU eTD Collection Fig. 8 “The- Laughing Cardinals”, 53 From Eroica With Love CEU eTD Collection 3.3.4. “…Without Buttsex 3.3.4. problem is not a confession isproblem not of but findingrather desire act it. anopportunity on Sex to pairing, Dorian andKlaus are both aware theof attraction,least at atDorian’s end, so the Jeeves/Wooster the Unlike tension. sexual obvious of worth years’ many to release and end. sex isthe itfrom beginning centrally, sexually Itoffers asto aresolution charged Byfeatures “ToTake plot. Force” the dominate that tensions from political the an escape andsexoffersthem in arealready fact;matter a relationship of characters much more the is sex the by Victors”, the In “Written frustrations. sexual characters’ the address to order climax as the whole narrativeitserves as the Headaches”, Wooster’s of roleMr in each.In“TheMatter different establishes sexual tension which needs to be resolved in up resisting relationship: the given he has that announces Klaus when original in the perceived subtext the references Her story Price). (Margaret them” between tension sexual of the be part abig seems to learned later [she] which bickering, sarcastic maincharacters’ wasthe “initially her tension as repressed attraction. As the author of “To Take By Force” notes, what attracted viewfans male this constant to female, for which in allows or whether anyone, interested romantically seriously be to shown never is but advances Dorian’s rejects always Klaus Klaus nodded, silently accepting the answer. the accepting silently nodded, Klaus Christ, that feels fantastic! Now there’s a question. Dorian still didn’t believe whatwas happening “Would you’ve believed me?” me.” of telling ways easier are “There say, to to had struggle and coherently think to hard it finding was Dorian Ooooh,” Th…th… “There…are… “I’m done fighting,” Klaus announced, not without some difficulty. All three stories feature explicit descriptions of sex, although these play a theseplay sex, of although descriptions explicit feature All three stories ” 54 now. “I…don’t know.” “I…don’t CEU eTD Collection orgasm” Speaking (86-87). of early slash stories, Russ contends that: achieve in to longwomen’s“foreplay”need for order to related as metaphorically, be [...] this taken that waiting that“Decarnin notes has suggested arousing” and analysesmotives of and for scruples pages and pages,adelay isinthat itself sexually written books for that way in a [her] to speak writing] a slash [in gay emotions “the that notes fan One male audience intercourse. of descriptions the of details just technical in and the in sex, closeness emotional don’t” (Ash-Leigh).authorship tends to influence the sex writing. This comes through both in the emphasis on female Russoverwhelmingly the as audience, male gay a primarily describesfor and by written scenes the “endless Mervin) (Das it.” itbut even neverdoing acknowledging or other, each 28 of UST doesn't have to be presentin the story” (Ash-Leigh), “I enjoy unrequited slash, orjust lots it how far mightbutmatter be, nopossibility that in future between the main the pairing, that the presencenot necessary in general. Althoughof a lot of fans enjoy the sex scenessex in slash, many admit scenes isvarying prominence in slash.not In fact, although these stories all feature crucial:sex scenes, they are have can general, in and stories, three these of each in roles different “there plays therefore has to be the possibility of sex Unresolved Sexual Tension. 28 thrusting, and in many stories there is multiple orgasm.) (83) thinking of vaginal penetration, bothapproach orgasm withaspeeded-up intensity of pelvic into anal intercourse with ablithe lack of lubrication that makes itclear that the authors are the “sexuality [them]in is only nominally male. (There are betraying details: the characters leap When sex is present, it often has characteristics differentfrom real gay sex or sex between two characters, constantly flirting along the edge of admitting they like 55 CEU eTD Collection realm of original homoerotic fiction which slash fans often feel is a different entity. Same- entity. different a is feel often fans slash which fiction homoerotic original of realm situations is a significant attractionmaterial; attachmentthe sourcethe characters to and excitementthe seeing of in them new for many fans. Without this mimicry,yet they alwaysare both present.Mimicry is required tomaintain thelink to sourcethe stories enter the elements, these employ they how in immensely vary stories Slash sexuality. and mimicry 3.4. The Core Elements of Slash what they are familiar with experientially and their own sexual desires. prominence of these aspects of sex suggests that female slash writers are influenced by experiencethe of the orgasm; inparticular ubiquitous the simultaneous orgasm. The on emphasis strong the and sex, of forms other over sex penetrative of presence dominant depictions are of modeledsex acts often onfemale sexual Thisdesires. up in shows the the how as well as inaccuracies, technical incontinuing through shows sometimes this and describing, are they acts sex the of experience first-hand had have cannot writers slash need for someone willing and able to serve as a technical consultant”. Nonetheless,“besiegedbeing with guys…?”“can two questions enough show to that there wasa real female and convention a attending after writers femaleslash at targeted up awebsite even set has Minotaur, writer, slash male gay One realistic. more significantly become has slash in writing sex available, is readily information where Internet the of proliferation the unrealistic examples of sex writing. featured slash men,early often of sex between aspects operational knowledgethe of have not days ofslash, technical inthe did early especially Because women writers, The previous section explored two themes which are integral to slash writing: slash to integral are which themes two explored section previous The More recently, with the availability of books such as “The Joy of Gay Sex” and 56 CEU eTD Collection better suited for capturing the diverse range of possible stories. is which axes two along possibilities of range continuous a for allows model this attempts, results from categorizingbased on a particular property of story.the Unlike previous the essence ofthestory due totheirrestriction discrete to categorieslimited and their that scope categorization,while sometimes for good specific purposes,fail tocommunicate the they employ mimicry and sexuality be themain focus of study. The previous attempts of amplifies these sexual undertones to become central to the narrative of slashthe story. relationship “slashed” the that characters havein thesourcematerial, slash andthe writer than sexthe isthat essential,as fans have pointed out. subtext The references the from other forms of fan fiction, such as het and gen. Interestingly, it issex the subtext sexual more so tension in the form of subtext and often explicit sex scenes distinguish slash Therefore, Isuggest thatwhen analyzing slash stories, the degree to which and how 57 CEU eTD Collection the narrative structure of slash stories, and looked at three stories in particular in areas the inparticular stories atthree looked and stories, of slash structure narrative the slash categorization, which each only capture a singlein of depictions inadequate queer characters media. popularthe element of the story. the on commentary of form a as beseen can Slash interrelation. and their explore text I examined source and textbacktothe commentary link social slash the parody reflexively through focusintimacy closeness relationships. and in on depicted the issuesof authorship The feelings. Theinfluence of predominantlythe female in authorship through shows the these on act characters the which in scenarios explore to subtext homoerotic this from suggestive “clues”,whethervisual oraural, Slash that occur. writing then extrapolates both basedmeaning, upon general the of depiction relationshipthe andspecific element. Readers theseand viewerscanthen perceive ashavingadeeperromantic “slashing”feature malethemselves to strong a homosocial tend with to relationships lend that texts slash. Source to source from continuum the comprise the which together slash writing is more intricate than it is often portrayed. of process the that shown have I steps, individual into process the down breaking By are. writing in slash trends prevailing the some of and what text from source the created is text slash the how explored have I thesis, this In sexuality. and relationships views intohowinteresting a of and insightfrom provides perspective, subset a gender women As a genre with overwhelmingly female authorship readership,slash and is My analysis of the slash text involved a critical survey of existing methods of methods existing of survey a critical involved text slash the of analysis My writing, “slashing”,andslash text, of individuallysource stages exploredthe I CONCLUSION 58 CEU eTD Collection don’t quite satisfyindividual don’t quite suit inside andsomething willbe to tastes rewritten […] programmes they watch. Stories that don’t end the way [fans] want, don’t gofar enough, it” (m_l_h), and “therecontend, slash “will carry on as long as there are fans of movies/television serieswill writeto always becommunity. is There legitimate long-termclearly demand for slash stories – asmany fans people not satisfiedfan fans in greater the slash marginalized of often the acceptance increasing slash and with what they increasing visibility of queerpositively seedepicted relationships in the media willaffect on the what the future holds about community slash in is the years.some debate ten There last the over greatly grown for it; some issues include the transitionidentifying the elements thatto are common across storiesmainstream, and those that vary. how structurally This helps composed. with understanding breadthof of the the genreand the break and arehow down stories the helpswork, itasany written to theory other treats fandom. Narrative of slash social aspect of the beenusedasevidence has itexamined been has text the when even and under-studied, been has literature of body a as Slash text. slash in the seen identity flexible the into characters source the of identity fixed moulds material the in source perceived subtextthe for howthe an offers explanation which hadnot been exploredpreviously in in detail connection it.with Queertheory greatly. vary of these implementations specific although unite all slash stories, that concepts and depictions of sexuality. mimicry, subtextperceived inthesource, of tothe mimicry, stylistic allusions content These helped me to identify mimicry and sexuality as two fourin has decadesanditsSlash hasnowbeen existence forpopularity over theory, narrative and theory queer of lenses the through slash at looked have I 59 CEU eTD Collection there will be slash” (Margaret Price). willbe (Margaret there slash” fangirls, are there long as “as as this restates fan succinctly One shared” (Ash-Leigh). 60 CEU eTD Collection 8. In your opinion, what is futurethe of slash? them? 7. Do you see any common categories amongst6. How do you seeslash slash in relation to erotica and/or pornography? stories, and if so, what are some of5. What is rolethe ofsex in slash? 4. What do you think slash says about the portrayal of sexuality in the media? writing? slash inspiring in clues these are important How charactersthe may have adeeper relationship is than generally assumed by non-slash fans? 3. What type of hints/clues do you notice in TV series/books/movies/etc. that suggest that 2. What makes slash slash? What are the main common elements amongst slash stories? 1. Why do you personally read/write slash? What attracts you to it? E-MAIL INTERVIEW QUESTIONS INTERVIEW E-MAIL APPENDIX 61 - CEU eTD Collection Mary Sue - hurt/comfort het - gen - gen - time first /‘zine – fandom - con(vention)s - fiction) (fan canon AU - PWP A “general story that posits no imposed romantic relationships among the characters” A story with “a heterosexual relationship, either one invented by the author or one or author by the invented one either relationship, heterosexual “a with A story Short for Alternate Universe. A story where “familiar characters are dropped into a - An - abbreviation for either “porn without plot” or “plot, whatplot?” (Busse and Jenkins 191). Jenkins Hellekson 11). A story which “consists littleof more than a sexual vignette” (H. presented in primarythe source text” (Busse and Hellekson 10). comforting him” (Busse and Hellekson 10-11). (Busse and Hellekson 10). grown to love her” (Bacon-Smith 313). (Bacon-Smith her” love to grown have who protagonists the of lives the saves [and] story, the of conflict the resolves intelligence, great beauty, and acharmingly impish personality,[…who] generally series/books/other media. community as awhole,can also but mean fansthe of a particular TV self-identified by their interest” in something (309). Fandom can refer to the fan distribution channel of fan fiction before the Internet. the before fan fiction of channel distribution year” (Bacon-Smith 308). 9). Hellekson and (Busse characters” and setting, (Busse and Hellekson 11). canonical)” be may not or may text media the on depending (which setting new - Bacon-Smith defines - A typical slash plot that includes the first sexual encounter between a pairing. A derogatory term for “…a very young heroine […]possessing genius-level Stories that “revolve around a character being injured and another character another and injured being acharacter around “revolve that Stories “Organized gatherings offans held atregular intervals throughout the An “amateur, non-profit publication” non-profit “amateur, An “the events presented in media the that source provide universe, the fandom GLOSSARY asa “term used by members of the related groups 62 (Bacon-Smith 309), the main the 309), (Bacon-Smith CEU eTD Collection Clark,Rudy and Arthur Resnick. Lyrics. “Good Lovin’.” Music by The (Young) Rascals. Charmaz, Kathy. “Foreword.” 2009. May 20 interview. E-mail Cein. Busse, Kristina and . “Introduction: Work in Progress.” A in Research: Domination Neocolonial from Ourselves “Freeing Russell. Bishop, Barthes, Roland. “The Death of the Camille. Author.”Bacon-Smith, 2009. 20 May interview. E-mail Ash-Leigh. Aoike, Yasuko. “The Laughing Cardinals.” 1966. Albany, NY: SUNY Press, 1996. xi-xvi. Print. Intersubjectivity andthe Study ofHuman Lived Experience. Print. 5-32. 2006. McFarland, London: Busse. Internet. the of Age the in Communities Fan Thousand Oaks, CA:SAGE,2005.109-138.Print. Research. Qualitative Kaupapa Maori Approach to Creating Knowledge.” Lodge. 2 Popular Myth. (Translation circulated in the nd ed. Harlow, UK: Longman, 2000. 146-150. Print. 146-150. 2000. Longman, UK: ed.Harlow, Philadelphia: University of Pennsylvania Press, 1992. Print. 1992. Press, Pennsylvania of University Philadelphia: Enterprising Women: Television Fandom and theCreation of the Eds. Norman K.Eds. Norman Denzin andYvonna S. Lincoln. 3 Symbolic Interaction and Ethnographic Research: BIBLIOGRAPHY From Eroica With Love With Eroica From 63 From Eroica With Love Modern Criticism and Theory Eds. Karen Hellekson and Kristina fan community.) The SAGEHandbook of By Robert C. Prus. . Vol. 11. 1982. 11. Vol. . Fan Fiction and . Ed. David rd ed. CEU eTD Collection Driscoll,Catherine. “One Pairing: True Romance The of Pornography and Pornography the England, Kim V. L. “Interviewing Elites: Cautionary Tales About Researching Women Researching About Tales Cautionary Elites: “Interviewing L. V. Kim England, of Fiction the “Slashing Biltereyst. Daniel and Bauwel, Van Sofie Frederik, Dhaenens, Derecho,Abigail. “Archontic Literature:A Definition, aHistory Several and Theories of Decarnin, Camilla. “.” May2009. 22 interview. E-mail Kipple. Debris 2009. 20May interview. E-mail Mervin. Das “Day One”. Cornwell, Bernard. Cornwell, Coppa, Francesca.“A Brief History of Media Fandom.” of of Romance.” Managers in Canada’s Banking Industry.” Print. 79-96. 2006. McFarland, London: Busse. Kristina and Hellekson Karen Inquiry Screen Studies, Representations, andAudiences.” Queer Theory: Slash Fiction, Queer Reading, andTransgressing Boundaries the of Karen Hellekson and Kristina Busse. London: McFarland, 2006. 61-78. Print. 61-78. 2006. McFarland, London: Busse. Kristina and Hellekson Karen Fan Fiction.” Fan andBrulotte John Vol.Phillips. 2. NewYork: Routledge,1233-1235. 2006. Print. 2006. October 22 series. Television McFarland, 2006. 41-59. Print. 41-59. 2006. McFarland, in theAgethe of Internet. Torchwood (Series One). 32.4 (2008): 335-347. Print. 335-347. (2008): 32.4 Sharpe’s Sword. Fan Fiction and Fan Communities in the Age of the Internet. Fan Fiction and Fan Communities in the Age of the Internet. Eds. Karen Hellekson and Kristina Busse. London: Busse. Kristina and Hellekson Karen Eds. 1983. London: Penguin Books, 2001. Print. 2001. Books, Penguin London: 1983. Encyclopedia ofEroticLiterature Writ. Chris Chibnall. Dir. Brian Kelly. BBC3. 64 Feminist Geography inPractice: Fan Fiction and Fan Communities JournalCommunication of .. Eds. Gaëtan Eds. Eds. CEU eTD Collection Kaplan, Deborah. “Construction of Fan Fiction Character Through Narrative.” Through Character Fiction Fan of “Construction Deborah. Kaplan, Katie Mariie. E-mail interview.21 May 2009. Jenkins,Henry. Jahn, Manfred.“Narratology: A Guide Theory tothe of Narrative Linda. Hutcheon, Hatty, Suzanne. Hall,Donald E. Foucault, Michel. “Friendship as a Way of Life.”Flamingo. Mailing list post (circulated by a slash fan). No date. “Fiction Ratings.” 2005. Web. 28 May 2009. “The Fan Rated Rating System.” No date. Web. 29 May 2009. Busse. London: McFarland, 2006. 134-152. Print. 134-152. 2006. McFarland, London: Busse. and Fan Communities in the Age of the Internet. Routledge, 1992. Print. Cologne. of University Champaign, IL: University of Illinois Press, 2000. Print. Print. 1999. Publications, 213. Print. 213. Research andMethods. Print. Vol.1). 1954-1984, Foucault, of Works Queer Theories. Textual Poachers: Television Fans & Participatory Culture. A TheoryofParody:TheTeachings Twentieth-Centuryof Forms. Art Masculinities,Violence and Culture. 28 May 2005. Web. 25 May2009. 25 Web. 2005. 28May Ed. Pamela Jane Moss. Oxford, UK: Blackwell, 2002. 200- Houndmills, 65 UK: Palgrave Macmillan, 2003. Print. 2003. Macmillan, Palgrave UK: New York: The New Press, 1997. 135-140. Ethics: Subjectivity and Truth (Essential Eds. Karen Hellekson and Kristina Thousand Oaks,CA: Sage . ” English Department, New York: Fan Fiction CEU eTD Collection Minotaur. “Introduction.” Millman, Joyce. “A Romance Between Mobsters and Their Mole.” Bonking?” Boys of full Comics Girls’ Japanese Are “Why Mark. McLelland, MASHFanficChick. E-mail interview. 27 May 2009. 2009. May 20 interview. E-mail m_l_h. Lamb,Patricia and FrazerDiana L.Veith.“Romantic Myth, Transcendence, and Star Trek Lacey, Nick. Krutnik, Frank. Krutnik, Kekki,Lasse. Kimmel, Michael S. “Masculinity as Homophobia: Fear, Shame and Silence in the Silence and Shame Fear, Homophobia: as “Masculinity S. Michael Kimmel, 2009 2009. May 17 Web. 20. 2,Page Section 2003. Aug. 17 media.com/issue1/CMRmcle.htm> Erotic Universe: Sexuality and Fantastic Literature. In a Lonely Street:Film Noir, Genre, Masculinity. Minotaur’s SexTips For Slash Writers. 1 (2001). Web. 23 May 2009. May Web. 23 1(2001). Theorizing Masculinities 66 New York: Peter Lang, The New York Times . Eds. Harry Brod and No date. No Ed. Donald Palumbo. Donald Ed. London: Routledge, London: Houndmills, UK: Houndmills, Web. 2June Intensities: CEU eTD Collection Provencher, Denis M."Sealed with a Kiss: Heteronormative Narrative Strategiesin NBC's Propp, VladimirPropp, Yakovlevich. ---. “To Price, Margaret. E-mail interview. 26May 2009. Take By Force.” Penley, Constance. Stylish.” Brutality Police Made That Show “The Emily. Nussbaum, “‘Normal Female One“No Out Gets HereAlive.” of Interest 2009. May 26 interview. E-mail noctuabunda. in Men Bonking’: researcher.” “Theinsider Howard. Mitchell, Selections from Dalton and Laura R. Linder. Albany, NY: SUNY Press, 2005. 177-189. Print. 177-189. 2005. Press, SUNY NY: Albany, R.Linder. Laura and Dalton Will & Grace Austin, TX: University of Texas Press, 1977. Print. 1997. Print. 1997. 29 February 2004. Section 2, Page 21. Web. 5 May 2009. 5 Web. 21. 2,Page Section 2004. February 29 May 2009. 20 Web. Jenkins. H. Henry and Underground Entertainment, 2003. DVD. StudioWorks 1987. Sharkey. Ray and Wahl Ken Perf. Iscove. Robert Dir. 37-44. Print.2008. Introductory Reader. NASA/TREK:Popular Science and Sex in America and .” The Sitcom Reader: America Viewed andSkewed. Strange Bedfellows Eds. Julia Johnson andLondon: DeSouza. Corinne SAGE, Fried-Potatoes.Com. Morphology of the Folktale. Morphology of Wiseguy (The Steelgrave Arc 67 .” Eds. Shoshanna Green, Cynthia H. Jenkins H. Cynthia Green, Shoshanna Eds. .” Understanding HealthandSocial Care:An 6July 2006. Web. 21May 2009. 2 nd ed. Trans.Laurence Scott. ). Writ.). David J.Burke. The New The New York Times The TerraThe Nostra . New. York: Verso, Eds. Mary Eds. M. CEU eTD Collection Sedgwick, Eve Kosofsky. Sanders, Steven M. “An Introduction to the Philosophy of TV Noir.” ---. “Slash fiction and human mating psychology.” Symons. Donald and Catherine Salmon, Russo, Vito. Love.” With Women, For Women By “Pornography Joanna. Russ, Rosecrance, John. “You Can’t Tell the Players Without a Scorecard: A Typology of Horse regann. “Mutual Elements.” Pugh, Sheenagh. Harper & Row, 1987. Print. California Press, 1992. Print. Print. 1-29. 2008. Kentucky, of Noir. 2009. 1 June Web. Female Sexuality. 1985. 79-99. Print. 79-99. 1985. Trembling Sisters, Puritans & Perverts. Clifton D. Bryant. New York: Taylor & Francis, 1989. 348-370. Print. 348-370. 1989. Francis, & Taylor York: New Bryant. D. Clifton Players.” Seren, 2005. Print. 2005. Seren, The Celluloid Closet: Homosexuality in the Movies. Revised Edition. Eds. Steven M. Sanders and Aeon J. Skoble. Lexington, KY: University Press The Democratic Genre:Fan Fiction in a Literary Context. Deviant Behaviour: Readings In TheSociologyNorm Of Violations. 2001. Epistemology of the Closet. LiveJournal.Com. New Haven, CT: Yale University Press, 2003. Print. 2003. Press, University Yale CT: Haven, New Warrior Lovers: Erotic Fiction, Evolution and 68 Trumansburg, NY: The Crossing Press, Crossing The NY: Trumansburg, 25July 2005.Web. 3June 2009. Journal ofSexResearch. Berkeley, CA: University of The Philosophy of TV Magic Mommas, Bridgend, UK: Feb 2004. London: Ed. CEU eTD Collection “WhatDo the Ratings Mean?” Of Politics And Pleasure The Hand: Of Out Getting Women And “Girls Matthew. Thorn, Thompson, Robert J. Stim, Richard. Palimpsest.” Slash The from Leeds: Soldiers “The Toy Stasi, Mafalda. starlaces. “Community memories overhaul.” memories “Community starlaces. by Victors.” “Written the Speranza. Spangler, Lynn C. “Buddies and Pals: A History of Male Friendships on Prime-Time on Friendships Male of A History Pals: and “Buddies C. Lynn Spangler, Smith, Chris. “A Proposed New Slashers All-Purpose Ratings System featuringAngry Sky Blue Reverie.“The Matterof Mr Wooster’s Headaches.” May 2009. University of New York Press, 2004. 169- 187. Print. Culture in Contemporary Japan. Japan's Amateur Comics Community.” Cannell Busse. London: McFarland, 2006. 115-133. Print. 115-133. 2006. McFarland, London: Busse. Internet. the of Age the in Communities Fan May 2009. CA:1992. 93-110. Sage, Print. Television.” 2009. May 20 E-mail. Wombats!” 2009. May 21 Web. 2006. Patent, Copyright & Trademark. . New York: Praeger, 1990. Print. 1990. Praeger, York: New . Men, Masculinity, andtheMedia. Men,Masculinity, Adventures Motion Picture Association of America. on Prime Time: TheTelevision Programs of Stephen J. Speranza's Fiction Ed. William W. Kelly. Albany, NY: State NY: Albany, Kelly. W. William Ed. 69 LiveJournal.com. 10 Fanning the Flames: Fans and Consumer th ed. Berkeley, CA: Nolo, 2009. Print. Eds. Karen Hellekson and Kristina . Nodate. Web. May 16 2009. Ed. Steve Craig. Ed. Thousand Oaks, LiveJournal.com. 14 May 2006. Web. 21 No date. Web. 20 Web. date. No Fan Fiction and 18 July CEU eTD Collection Woledge, Elizabeth. “Intimatopia: Genre Intersections Between Slash and the and Slash Between Intersections Genre “Intimatopia: Elizabeth. Woledge, Wodehouse, P.G.“Bertie Changes His Mind.” Karen Hellekson and Kristina Busse. London: McFarland, 2006. 115-133. Print. 115-133. 2006. McFarland, London: Busse. Kristina and Hellekson Karen Mainstream.” Books, 1999. 228-245. Print. Fan Fiction andFan Communities in the Age of theInternet. 70 Carry On,Jeeves. 1925. London: Penguin Eds.