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СпутникиРНSpaceXРоскосмосNASAI’m doing a survey of the first few books in Henry Jenkins and Robert V. Kozinet’s 15 book fandom series, Frames of Fandom. Two weeks ago, I introduced the first book in the series: Defining Fandom. Today and for the next couple of posts, we’ll look at Book 2, Fandom as Audience. These books are incredibly wide-ranging both in their surveying of fandom histories and in their carefully thought-out taxonomies and definitions. Depending on your research focus, one or another of the books might be useful to you. –FCFandom as Audience, this second book in the series, traces the historical and conceptual journey of fandom from traditional audience studies to the field of fandom studies. Beginning with the conception of audiences as spectatorial observers shaped by demographic categories, it traces the evolution of fandom up to the mid-20th century, when marketers, media producers, and researchers began to recognize the importance of segmentation and targeting. (7-8)The roots of fandom studies can be found in the work of the Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham, UK (often described as the Birmingham School). Along with the historian E. P. Thompson, the literary critic Richard Hogarth, and the theorist Stuart Hall, the Welsh-born critic and novelist Raymond Williams is widely acknowledged as one of the founders of the cultural studies approach. More than any other piece of writing, William’s “Culture is Ordinary” (1989) set the tone for the British Cultural Studies movement. Williams offers a more inclusive model of culture, a concept Williams would describe more fully in Keywords (1976). Williams’ conception of culture contrasts with that of 19th-century cultural critic Matthew Arnold….Arnold’s approach was exclusive: only a very narrow selection of things, “the best” could be considered “culture,” and only a small number of people could be considered “cultured,” a metaphor drawn from agriculture where it originally referred to the cultivation of the land or the human transformation of the environment. William’s approach is expansive, embracing the arts and the sciences, the exceptional and the ordinary, the traditional and the emergent. For Williams, culture is at once the stuff of learning, an acquired set of skills and appreciations, and the stuff of experience, part of the daily lives of ordinary folks. Williams—then in his late 20s—opened the debate in 1958 with a blistering manifesto for a new approach, “Culture Is Ordinary.” Perhaps the essay’s most radical element is the way Williams pits his own lived experience growing up working class in the Welsh countryside against what his own mentors were teaching him at Cambridge: “When the Marxists say that we live in a dying culture and that the masses are ignorant, I have to ask them, as I did ask them, where on Earth they have lived. A dying culture, and ignorant masses are not what I have known and see.” Cultural studies commit themselves to better understanding the ongoing struggle over what counts as culture and who gets to decide what culture matters. (68-70)
I’m doing a survey of the first few books in Henry Jenkins and Robert V. Kozinet’s 15 book fandom series, Frames of Fandom. Two weeks ago, I introduced the first book in the series: Defining Fandom. Today and for the next couple of posts, we’ll look at Book 2, Fandom as Audience. These books are incredibly wide-ranging both in their surveying of fandom histories and in their carefully thought-out taxonomies and definitions. Depending on your research focus, one or another of the books might be useful to you. –FC
Fandom as Audience, this second book in the series, traces the historical and conceptual journey of fandom from traditional audience studies to the field of fandom studies. Beginning with the conception of audiences as spectatorial observers shaped by demographic categories, it traces the evolution of fandom up to the mid-20th century, when marketers, media producers, and researchers began to recognize the importance of segmentation and targeting. (7-8)
The roots of fandom studies can be found in the work of the Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham, UK (often described as the Birmingham School). Along with the historian E. P. Thompson, the literary critic Richard Hogarth, and the theorist Stuart Hall, the Welsh-born critic and novelist Raymond Williams is widely acknowledged as one of the founders of the cultural studies approach. More than any other piece of writing, William’s “Culture is Ordinary” (1989) set the tone for the British Cultural Studies movement. Williams offers a more inclusive model of culture, a concept Williams would describe more fully in Keywords (1976). Williams’ conception of culture contrasts with that of 19th-century cultural critic Matthew Arnold….Arnold’s approach was exclusive: only a very narrow selection of things, “the best” could be considered “culture,” and only a small number of people could be considered “cultured,” a metaphor drawn from agriculture where it originally referred to the cultivation of the land or the human transformation of the environment. William’s approach is expansive, embracing the arts and the sciences, the exceptional and the ordinary, the traditional and the emergent. For Williams, culture is at once the stuff of learning, an acquired set of skills and appreciations, and the stuff of experience, part of the daily lives of ordinary folks. Williams—then in his late 20s—opened the debate in 1958 with a blistering manifesto for a new approach, “Culture Is Ordinary.” Perhaps the essay’s most radical element is the way Williams pits his own lived experience growing up working class in the Welsh countryside against what his own mentors were teaching him at Cambridge: “When the Marxists say that we live in a dying culture and that the masses are ignorant, I have to ask them, as I did ask them, where on Earth they have lived. A dying culture, and ignorant masses are not what I have known and see.” Cultural studies commit themselves to better understanding the ongoing struggle over what counts as culture and who gets to decide what culture matters. (68-70)
| # | Наименование новости | Тональность | Информативность | Дата публикации |
|---|---|---|---|---|
| 1 | Frames of Fandom, a multi-book series by Henry Jenkins and Robert V. Kozinets | 0 | 7.7 | 24-08-2026 |
| 2 | Frames of Fandom: Fandom as Audience (Book 2)I’m doing a survey of the first few books in Henry… | 0 | 7.12 | 26-09-2026 |
| 3 | Your Go-To Piece of Criticism: Kirsty Sedgman | 0 | 12.56 | 14-07-2026 |
| 4 | Your Go-To Piece of Criticism: Matt Hills, Part 1 | 0 | 10.13 | 03-05-2026 |
| 5 | Your Go-To Piece of Criticism: Matt Hills, Part 3 | 0 | 9.19 | 02-06-2026 |
| 6 | Your Go-To Piece of Criticism: Suzanne Scott | 0 | 7.13 | 15-06-2026 |
| 7 | No Straight Story | 0 | 6.24 | 21-07-2026 |
| 8 | Your Go-To Piece of Criticism: Kristina Busse | 0 | 10.5 | 28-07-2026 |
| 9 | “While print fan fiction does exist by way of fanzines, print-on-demand services, and fanbinding… | 0 | 5.25 | 22-06-2026 |
| 10 | Going Rogue or Going Back to Rogue | 0 | 4.23 | 14-09-2026 |