Dissertationsprojekt
The Reception of German Media Texts in Russian-language Fan Fiction
Mykhailo Beliavskyi
Abstract
Germany is well-researched in many works of Russian-speaking (hereafter referred to as Russian) literature, but its presence in fan fiction remains unexplored, which is the focus of the current proposal. Different reader-response literary theories are essential here, dividing fan fiction into two parts: creative reception and analytical or critical reception.<o:p></o:p>
Fan fiction is a part of transmedia storytelling, expanding the fictional world of the canonical text through interpretations by fans. In terms of creative reception, fans elaborate so-called 'fanons' using known or special narratives, genres, or themes, which necessitates the application of disciplines such as narratology, genre theory, and thematology as well as fan studies for analysis. As readers, they identify the ‘gaps’ in the original text and respond by filling them in. <o:p></o:p>
Fans particularly pay attention to original characters, their romances, and the investigation of feelings, composing new configurations in the form of pairings and even changing the sexual orientation of characters through ‘queer reading’. The characters are thus inseparable from their settings.<o:p></o:p>
Sometimes fans classify the stories according to their own points of view, leading to the emergence of tags that become tropes, clichés, or even broader categories with their specific meanings. Among these categories, preferences and warnings can also be found, often being interchangeable.<o:p></o:p>
Fan fiction is an internet-based literature, where its tags are organized into a system. It also integrates paratext, comprising at least metadata such as title, author, and description, along with hyperlinks that lead to further information, networks, and context meaning sociological dimension.<o:p></o:p>
Regarding critical reception, fans engage in the genre of commentary, interacting with other fans, especially during hiatuses and while waiting for updates on ‘works in progress’. They also write articles about original texts, fandoms, or writing methods.<o:p></o:p>
Noticeably since 2022, Russian social reading platforms have been affected by recent events. The fan fiction platform Ficbook, which has been recognized as central and was founded in 2009, will be the focus, particularly the interval from 2009 to 2022. Fan fiction platforms specific to Russian culture encompass Ficbook, Archive of Our Own (AO3), Fanfics.me, Diary.ru, Wattpad, and other fandom-related resources. Ficbook has been examined concerning existing German fandoms popular among Russian fic writers.<o:p></o:p>
The top spots in the literary fandom are held by the Brothers Grimm and three fantasy authors: Kerstin Gier, Ulrike Schweikert, and Cornelia Funke. The media fandom features the detective series Inspector Rex and texts with war backgrounds, such as the film Before the Fall, Timm Thaler, and Generation War. Popular cartoons include School for Vampires, Wunschpunsch, and The Wild Soccer Bunch. As expected, the most significant Real Person Fiction subjects are Tokio Hotel and Rammstein, followed by other bands like Cinema Bizarre, Modern Talking, Oomph!, Lord of the Lost, and Eisbrecher, as well as music artists like Wolfgang Amadeus Mozart, Antonio Salieri, and Conchita Wurst.<o:p></o:p>
The next research questions are posed:<o:p></o:p>
1. What characteristics of the selected texts contribute to their international popularity?<o:p></o:p>
2. Why were these media texts chosen for popularization in the Russian-speaking area?<o:p></o:p>
3. What elements of the texts do Russian fans take into consideration?<o:p></o:p>
4. What techniques are used to transform them?<o:p></o:p>
5. What fanons are extended from the originals?<o:p></o:p>
6. What combinations are mixed from German and Russian texts?<o:p></o:p>