DA TELA AO LIVRO: A REESCRITA E PUBLICAÇÃO DE FANFICTIONS E O MERCADO BRASILEIRO
This article aims to discuss the process of publishing fanfictions in “original” stories by independent publishers in Brazil. We will discuss the work of appropriating characters by ficwriters in the creation of fanfictions on the Internet and how, subsequently, these new authors remove the stories...
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| Format: | article |
| Status: | Published version |
| Publication Date: | 2023 |
| Country: | Brasil |
| Institution: | Universidade Federal de Juiz de Fora (UFJF) |
| Repository: | Darandina Revisteletrônica |
| Language: | Portuguese |
| OAI Identifier: | oai:periodicos.ufjf.br:article/42393 |
| Online Access: | https://periodicos.ufjf.br/index.php/darandina/article/view/42393 |
| Access Level: | Open access |
| Keyword: | Fanfictions Editoras Independentes Pull to Publish Reescrita independent publishers pull to publish rewriting |
| Summary: | This article aims to discuss the process of publishing fanfictions in “original” stories by independent publishers in Brazil. We will discuss the work of appropriating characters by ficwriters in the creation of fanfictions on the Internet and how, subsequently, these new authors remove the stories from online websites, rewrite them for the second time and publish them as if it were an unpublished story in physical book. This action involves a participatory culture between fans, publishers, authors and the fan community, explaining the success of best-selling sagas such as Fifty Shades of Grey, by E. L. James (2011) or The Mortal Instruments, by Classandra Clare (books published between 2007 and 2014), previously known as fan productions for Twilight and Harry Potter, respectively. Pull to Publish (P2P) shows that this type of publication aims to “test” the public before going to market, a practice that increasingly extends from the virtual to the real world. In Brazil, independent publishers are beginning to adopt this practice, releasing books that were previously fan stories. The main references used in this work are Agamben (2015), Lefevere (2007), Reis (2017, 2018), Miranda (2009) and Vargas (2005). |
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