摘要：Contemporary fan fiction is overwhelmingly digital in both publication and dissemination; it has never been easier to access this subculture of writers and writing. However, fan fiction in print has likewise never been so accessible, as a slew of recent popular novels proudly proclaim their fannish origins and make claims such as "More Than 2 Million Reads Online—FIRST TIME IN PRINT!" Further, traditional fannish mores insist that fan work should never be done for profit, and yet numerous print works adapted from fan fiction have become best sellers. I would like to problematize how we consider form and content in both creation and reception, how the popular value of work waxes and wanes in relation to its fan fiction status. In other words, how can we read fan fiction as part of a continuum of historical publication practices by women, and problematize our hierarchies of value between print and digital?.
其他摘要：Contemporary fan fiction is overwhelmingly digital in both publication and dissemination; it has never been easier to access this subculture of writers and writing. However, fan fiction in print has likewise never been so accessible, as a slew of recent popular novels proudly proclaim their fannish origins and make claims such as "More Than 2 Million Reads Online—FIRST TIME IN PRINT!" Further, traditional fannish mores insist that fan work should never be done for profit, and yet numerous print works adapted from fan fiction have become best sellers. I would like to problematize how we consider form and content in both creation and reception, how the popular value of work waxes and wanes in relation to its fan fiction status. In other words, how can we read fan fiction as part of a continuum of historical publication practices by women, and problematize our hierarchies of value between print and digital?
