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Deutschsprachige Star Trek-Fan Fiction Genre, Motive, Kanäle

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Deutschsprachige Star Trek-Fan Fiction Genre, Motive, Kanäle DIPLOMARBEIT Titel der Diplomarbeit Deutschsprachige Star Trek-Fan Fiction Genre, Motive, Kanäle Verfasserin Mag.a (FH) Monika Bargmann angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 332 Studienrichtung lt. Studienblatt: Deutsche Philologie Betreuer: Univ.-Prof. Dr. Roland Innerhofer 1 VORWORT ................................................................................................................................................ 4 2 EINLEITUNG ............................................................................................................................................. 6 2.1 FORSCHUNGSFRAGE ..................................................................................................................................... 6 2.2 FORSCHUNGSSTAND ..................................................................................................................................... 6 2.3 METHODE .................................................................................................................................................. 8 2.4 ZIELE ......................................................................................................................................................... 9 3 FAN FICTION, DAS DEMOKRATISCHE GENRE .......................................................................................... 10 4 STAR TREK – EINE FAN-GESCHICHTE ....................................................................................................... 12 4.1 INSPIRATION FÜR DIE BERUFSWAHL ............................................................................................................... 21 4.2 SICHT DER SCHAUSPIELERINNEN AUF DIE FANS ................................................................................................. 22 4.3 ZUSAMMENFASSUNG .................................................................................................................................. 26 5 FANDOM UND „ACTIVE AUDIENCE“ ....................................................................................................... 27 5.1 FANDOM .................................................................................................................................................. 27 5.2 „ACTIVE AUDIENCE“ ................................................................................................................................... 28 5.3 FANHIERARCHIEN ....................................................................................................................................... 29 5.4 ZUSAMMENFASSUNG .................................................................................................................................. 30 6 TEXTREZEPTION, TEXTPRODUKTION UND TEXTANALYSE ALS FANAKTIVITÄT ......................................... 32 6.1 TEXTREZEPTION ......................................................................................................................................... 32 6.2 TEXTANALYSE ............................................................................................................................................ 33 6.3 TEXTPRODUKTION ...................................................................................................................................... 36 6.4 SOZIALE EREIGNISSE ................................................................................................................................... 45 6.5 MERCHANDISING ....................................................................................................................................... 47 6.6 ZUSAMMENFASSUNG .................................................................................................................................. 47 7 TEXTSORTEN DER FAN FICTION .............................................................................................................. 49 7.1 BEZEICHNUNGEN FÜR TEXTSORTEN................................................................................................................ 49 7.2 ZUSAMMENFASSUNG .................................................................................................................................. 58 8 PUBLIKATIONSKANÄLE FÜR FAN FICTION .............................................................................................. 59 8.1 FANZINES ................................................................................................................................................. 59 8.2 KOMMERZIELLE ANTHOLOGIEN ..................................................................................................................... 60 8.3 EMAIL-VERTEILER UND NEWSGROUPS ........................................................................................................... 61 8.4 ONLINEPLATTFORMEN ................................................................................................................................ 61 8.5 ZUSAMMENFASSUNG .................................................................................................................................. 65 9 SIEBEN FANS IM GESPRÄCH ................................................................................................................... 66 9.1 VULKAN SPIRIT: MARIA NAUSCH UND GÜNTHER SCHULZ .................................................................................. 67 9.2 TREKNATION: NADIA VOLKRODT .................................................................................................................. 72 ~ 2 ~ 9.3 STAR TREK DEFENDER: ADRIANA WIPPERLING ................................................................................................. 75 9.4 STAR TREK COMPANION: JULIAN WANGLER .................................................................................................... 78 9.5 TREKDINNER GRAZ: MICHAEL FISCHER ........................................................................................................... 81 9.6 SFGW: NINA HORVATH ............................................................................................................................. 83 9.7 ZUSAMMENFASSUNG .................................................................................................................................. 84 10 BETÄTIGUNGSFELDER FÜR BIBLIOTHEKEN UND ARCHIVE .................................................................... 87 10.1 ERWERBUNG, AUFBEWAHRUNG UND LANGZEITARCHIVIERUNG ......................................................................... 89 10.2 UNTERSTÜTZUNG BEI DER GESTALTUNG, PRODUKTION UND BEWERBUNG ........................................................... 89 10.3 BEISPIELE FÜR PHYSISCHE BIBLIOTHEKEN UND ARCHIVE ................................................................................... 90 10.4 BEISPIELE FÜR VIRTUELLE BIBLIOTHEKEN UND ARCHIVE .................................................................................... 92 10.5 ZUSAMMENFASSUNG ................................................................................................................................ 94 11 FAN FICTION IM UNTERRICHT .............................................................................................................. 95 11.1 ZUSAMMENFASSUNG ................................................................................................................................ 95 12 URHEBERRECHT UND PERSÖNLICHKEITSRECHT .................................................................................... 96 12.1 URHEBERRECHTLICHE ASPEKTE ................................................................................................................... 96 12.2 PERSÖNLICHKEITSRECHTLICHE ASPEKTE ........................................................................................................ 97 12.3 ZUSAMMENFASSUNG ................................................................................................................................ 98 13 ERKENNTNISSE ..................................................................................................................................... 99 13.1 FAN FICTION ALS LITERARISCHE PARALLELKULTUR ........................................................................................... 99 13.2 FAN FICTION ALS EPITEXT ........................................................................................................................ 100 13.3 FRAGEN AN DIE GERMANISTIK .................................................................................................................. 102 14 ANHANG ............................................................................................................................................ 105 14.1 ZUSAMMENFASSUNG DER DIPLOMARBEIT ................................................................................................... 105 14.2 ABKÜRZUNGSVERZEICHNIS ....................................................................................................................... 106 14.3 LITERATURVERZEICHNIS ........................................................................................................................... 107 14.4 INTERVIEWLEITFADEN ............................................................................................................................. 118 14.5 AUSWAHL DEUTSCH- UND ENGLISCHSPRACHIGER FANZINES ............................................................................ 119 ~ 3 ~ 1 Vorwort „Fan fiction is a way of
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