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Digital Fanfic in Negotiation: Livejournal, Archive of Our Own, and the Affordances of Read-Write Platforms
Digital fanfic in negotiation: LiveJournal, Archive of our Own, and the affordances of read-write platforms. Introduction Fanfiction is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story (self-ref, 2017). It is often abbreviated to fanfic or even fic, and exists in a thoroughly grey legal area between copyright infringement and fair use (Tushnet 1997, McCardle 2011). Though there were a few cases of cease-and-desist letters sent to fan writers in the twentieth century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us,1 and for another it would be terrible publicity. Though modern fanfic can be reliably dated to the 1960s (Jenkins 1992), it is now primarily an online practice, and the fastest growing form of writing in the world (self ref). This paper uses participant observation and online ethnography to explore how fanfiction archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read-write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. Whilst the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ texts than its successor in the Archive of Our Own (A03), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the A03 recoups some of the cultural capital and use value of print. -
Consumption, Pastiche and Identity in Postmodern Visual Culture
CONSUMPTION, PASTICHE AND IDENTITY IN POSTMODERN VISUAL CULTURE by Marianna Jadwiga Winczewski Submitted in partial fulfilment for the degree of Magister Artium in Information Design FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA OCTOBER 2008 Supervisor: Prof E Dreyer © University of Pretoria I declare that the writing and technical production of Pastiche, Consumption and Identity in Postmodern Visual Culture is entirely my own work. All sources that I have used or quoted have been indicated and acknowledged by means of complete references. This document is the copyrighted property of the University of Pretoria, and may not be reproduced or copied in any form. Should this research or sections thereof be quoted or referred to in any way, this must be acknowledged in full. Signature __________________________________ Date _______ ii UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES DEPARTMENT OF VISUAL ARTS I (full names) Marianna Jadwiga Winczewski Student number 20148242 Subject of the work Pastiche, Consumption and Identity in Postmodern Visual Culture Declaration 1. I understand what plagiarism entails and am aware of the University’s policy in this regard. 2. I declare that this mini-dissertation is my own, original work. Where someone else’s work was used (whether from a printed source, the internet or any other source) due acknowledgement was given and reference was made according to departmental requirements. 3. I did not make use of another student’s previous work and submitted it as my own. 4. I did not allow and will not allow anyone to copy my work with the intention of presenting it as his or her own work. -
Using Languages in Legal Interpreting
UsIng LangUages In LegaL InterpretIng edItor’s note: In this issue of The Language Educator, we continue our series of articles focusing on different career opportunities available to language pro- fessionals and exploring how students might prepare for these jobs. Here we look at different careers in the legal field. By Patti Koning egal interpreting is one of the fastest growing fields for foreign “This job gives me the opportunity to see all sides of a courtroom Llanguage specialists. In fact, the profession is having a tough proceeding. A legal interpreter is a neutral party, but you are still time keeping up with the demand for certified legal interpreters and providing a tremendous service to the community and to the court,” translators, due to the increase in the number of individuals with she explains. “It’s also a lot of fun. There is always something new— limited English language skills in the United States, along with law you are dealing with different people and issues constantly. It really enforcement efforts against undocumented foreign nationals. keeps you on your toes.” Federal and state guidelines mandate that legal interpreters be That neutrality can pose a challenge for people new to the field. provided for any speaker with limited English skills in a courtroom “If you interpret, that is the only role you can play. You aren’t a proceeding, court-ordered mediation, or other court-ordered programs social worker, friend, advocate, or advisor and that distance is some- such as diversion and anger management classes. This includes defen- thing that has to be learned,” explains Lois Feuerle, a NAJIT director. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen. -
(30 January 2014) [Copyright Taylor &Am
1 This is an Author's Accepted Manuscript of an article published in Translation Studies (30 January 2014) [copyright Taylor & Francis], available online at: http://www.tandfonline.com/doi/full/10.1080/14781700.2013.877208 The version of record can be found at this address and should be used for citation purposes as pagination differs. There are also minor proofreading differences. Film remakes, the black sheep of translation Jonathan Evans* School of Languages and Area Studies, University of Portsmouth, UK *Email: [email protected] Film remakes have often been neglected by translation studies in favour of other forms of audio-visual translation such as subtitling and dubbing. Yet, as this article will argue, remakes are also a form of cinematic translation. Beginning with a survey of previous, ambivalent approaches to the status of remakes, it proposes that remakes are multimodal, adaptive translations: they translate the many modes of the film being remade and offer a reworking of that source text. The multimodal nature of remakes is explored through a reading of Breathless, Jim McBride’s 1983 remake of Jean-Luc Godard’s À bout de souffle (1959), which shows how remade films may repeat the narrative of, but differ on multiple levels from, their source films. Due to the collaborative nature of film production, remakes involve multiple agents of 2 translation. As such, remakes offer an expanded understanding of audiovisual translation. Keywords: film remakes; multimodal translation; Breathless; textual networks; corporate authorship; À bout de souffle Film remakes across languages are referred to as a form of translation by some critics, particularly in film and media studies (e.g. -
Pastiche in Paul Auster's the New York Trilogy
qw Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 7 No. 5; October 2016 Australian International Academic Centre, Australia Flourishing Creativity & Literacy Pastiche in Paul Auster’s The New York Trilogy Maedeh Zare’e (Corresponding author) Islamic Azad University, Tehran Central Branch, Iran E-mail: [email protected] Razieh Eslamieh Islamic Azad University, Parand Branch, Iran Doi:10.7575/aiac.alls.v.7n.5p.197 Received: 17/06/2016 URL: http://dx.doi.org/10.7575/aiac.alls.v.7n.5p.197 Accepted: 28/08/2016 Abstract This article is a Jamesonian study of Auster’s The New York Trilogy in which one of Fredric Jameson’s notions of postmodernism, pastiche, has been applied on three stories of the novel. This novel is one of Auster’s outstanding postmodern works to which Jameson’s theories of postmodernism, in particular, pastiche can be applicable. Pastiche has been defined by Fredric Jameson as an imitation of a strange style and contrasted to the concept of postmodern parody. This article indicates that theory of pastiche can be applied on both the form and content of three stories of the above mentioned novel. Keywords: Pastiche, Parody, Depthlessness, Historicity 1. Introduction Paul Benjamin Auster (1947) is one of the most influential American postmodern authors, whose works mostly mix realism, experimentation, sociology, absurdism, existentialism and crime fiction. Pastiche, intertextuality, aesthetic dignity and Auster’s own appearance in his works, such as City of Glass (1985), are also some of the features of his works. The search for identity and self-discovery can be found in his works such as The New York Trilogy (2015)1, Moon Palace (1989), The Music of Chance (1990), The Book of Illusions (2002), and The Brooklyn Follies (2005). -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-28-2005 Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College Sarah Rachel Burger Dickinson College Blair Hetherington Douglas Dickinson College Michelle Erika Garman Dickinson College Danielle Marie Gower Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Contemporary Art Commons Recommended Citation Hirsh, Sharon, et al. Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2005. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Alison Buinicky, Sarah Rachel Burger, Blair Hetherington Douglas, Michelle Erika Garman, Danielle Marie Gower, Blair Lesley Harris, Laura Delong Heffelfinger, Saman Mohammad Khan, Ryan McNally, Erin Elizabeth Mounts, Nora Marisa Mueller, Alexandra Thayer, Heather Jean Tilton, Sharon L. Hirsh, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/9 WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints January 28 – March 5, 2005 Curated by: Alison Buinicky Sarah Burger Blair H. Douglas Michelle E. Garman Danielle M. Gower Blair L. Harris Laura D. Heffelfinger Saman Khan Ryan McNally Erin E. Mounts Nora M. -
2020 ALTA Awards
43rd Annual ALTA Sept. 30 – Oct. 18, 2020 Conference THE AMERICAN LITERARY TRANSLATORS ASSOCIATION 2020 ALTA Awards THE NATIONAL CENTER FOR ONLINE TRANSLATION CERTIFICATE INTERPRETATION has been one of the premier NCI now offers an online, non-credit Spanish/ providers of high quality interpreter training since English Translation Certificate with courses its inception in 1983. focused on legal translation, medical translation, and business translation. Contact us for more information: [email protected] More about the Certificate: nci.arizona.edu/online-translation-certificate WEBINARS Throughout the year, NCI offers a variety of COURT INTERPRETER TRAINING INSTITUTE webinars focused on essential aspects of (CITI) interpreting, from ethical considerations to Each summer, NCI offers its prestigious Court skill-building to specialized content such as Interpreter Training Institute (CITI). Now in its drug and weapons terminology. NCI offers both 38th year, the CITI is NCI’s most comprehensive Spanish/English webinars and language neutral training and is renowned nationally. The CITI webinars that are open to interpreters of all begins in June with online pre-testing followed languages. NCI’s webinar schedule changes by a series of webinars and online work, followed throughout the year, so check back often. You by two intensive weeks in July with the CITI’s can also join our mailing list to receive updates exceptional, federally certified instructors. It’s a as we post new trainings. once-in-a-lifetime experience! Webinar Schedule: More information about the CITI: nci.arizona.edu/workshop-schedule nci.arizona.edu/training/citi Congratulations to the translators on the 2020 Italian Prose in Translation Award shortlist! See what judges Jeanne Bonner, Richard Dixon, and Tony Italian Prose Shugaar had to say about each of the shortlisted titles (in alphabetical in Translation order by title). -
Incorporating Fansubbers Into Corporate Capitalism on Viki.Com
“A Community Unlike Any Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Taylore Nicole Woodhouse TC 660H Plan II Honors Program The University of Texas at Austin Spring 2018 __________________________________________ Dr. Suzanne Scott Department of Radio-Television-Film Supervising Professor __________________________________________ Dr. Youjeong Oh Department of Asian Studies Second Reader ABSTRACT Author: Taylore Nicole Woodhouse Title: “A Community Unlike Another Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Supervising Professors: Dr. Suzanne Scott and Dr. Youjeong Oh Viki.com, founded in 2008, is a streaming site that offers Korean (and other East Asian) television programs with subtitles in a variety of languages. Unlike other K-drama distribution sites that serve audiences outside of South Korea, Viki utilizes fan-volunteers, called fansubbers, as laborers to produce its subtitles. Fan subtitling and distribution of foreign language media in the United States is a rich fan practice dating back to the 1980s, and Viki is the first corporate entity that has harnessed the productive power of fansubbers. In this thesis, I investigate how Viki has been able to capture the enthusiasm and productive capacity of fansubbers. Particularly, I examine how Viki has been able to monetize fansubbing in while still staying competitive with sites who employee trained, professional translators. I argue that Viki has succeeded in courting fansubbers as laborers by co-opting the concept of the “fan community.” I focus on how Viki strategically speaks about the community and builds its site to facilitate the functioning of its community so as to encourage fansubbers to view themselves as semi-professional laborers instead of amateur fans. -
Presenting to Elementary School Students Sample Script #1
Presenting to Elementary School Students These sample presentations, tips, and exercises that can be adapted for your needs. If you do use any of these materials, please be sure to acknowledge the author’s contribution appropriately. Sample Script #1 Please acknowledge: Lillian Clementi Please note that this presentation incorporates a number of ideas contributed by other people. Special thanks to Barbara Bell and Amanda Ennis. Length. The typical elementary school presentation is about 20 minutes, though you may have less for Career Day or more if you're doing a special presentation for a language class. There are several interactive exercises to choose from at the end: adapt the script to your needs by adding or eliminating material. Level. This is pitched largely to third or fourth grade. I usually start with the more basic exercises and then go on to the next if I have time and the group seems to be following me. For younger children, simply make them aware of other languages and focus on getting the first two or three points across. For fifth graders, you may want to make the presentation a little more sophisticated by incorporating some of the material from the middle school page. Logistics. It's helpful to transfer the script to index cards (numbered so they're easy to put back in order if they're dropped!). Because they're easier to hold than sheets of paper, they allow you to move around the room more freely, and you can simply reshuffle them or eliminate cards if you need to change your material at the last minute.