Reconfiguring the twenty first-century reader : an analysis of interpretation and performance

This article discusses how contemporary technological trends and new media have reconfigured the reader into a multiplicity of roles, suggesting that a number of dualisms formerly associated with the act of reading are no longer valid. Notions of writing and reading, creation and interpretation have been adapted to new convergence models of textual production and reception, and whilst 'story' remains translatable across media, in the process of multiplatforming, various narrative techniques are used to create different levels of engagement with the text at each stage. The promise of the reader's much-celebrated creative authority at the turn of the century is problematised here through a discussion of distributed aesthetics and tele-theories of representation. Taking the fantasy genre as a case study, the contemporary influence of cultish trends, together with the effect of cybernetic communication dynamics on traditional genre stylistics and the fulfilment of narrative meaning, will be analysed as essential considerations in establishing which aspects of the traditional reader are translatable to a future that seems increasingly dependent on connectivity, interactivity and speed. The article will argue that, in a number of instances, the contemporary cultural scenario suggests that fulfilment of meaning is often successfully executed through strategies previously associated with the performative rather than the literary text, and will conclude that specific technological developments are responsible for this adaptation.peer-reviewe

From audiences to publics : convergence culture and the Harry Potter phenomenon

In the mid-nineties, changing business and communication models influenced the way in which cultural industries operated. The spheres of public and private, production and distribution, ownership and access had to be reconsidered and were characterised by convergence culture, a commercial and creative environment based on active participation that offers support for creating and sharing interpretations and original works. Convergence culture has relatively low barriers to artistic expression and civic participation and fosters a sense of community growing around people’s common interests and ideologies. It is also a product of the relationship between communication technologies, the cultural communities that grow around them, and the activities they support.peer-reviewe

Reconfiguring the reader : convergence and participation in modern young adult fantasy fiction

PhD ThesisThis thesis explores digital-age literary and reading practices as they were influenced by participatory culture at the turn of the century. Participatory culture is analysed here through the work of Henry Jenkins, Hans Heino Ewers, Margaret Mackey and Katy Varnelis and is recognised as one in which individuals are socially connected to each other in an environment that offers support for creating and sharing interpretations and original works. It has relatively low barriers to artistic expression and civic participation, and fosters the sense of community growing around people’s common interests and ideologies, as expressed through performative manifestations such as gaming and fandom. Because juvenile fantasy fiction generally, and J. K. Rowling’s Harry Potter series (1997-2007) specifically, were at the centre of significant developments in response to participatory culture, Rowling’s books are used as a case study on the basis of which changing practices of reading, writing and interpretation of story, principally by children and young people, are mapped and appraised. One aim of this thesis is to evaluate how far participatory culture has affected what it means to be a reader of a text that exists in multiple formats: how each version of the text constructs and addresses its readers/viewers/players/co-creators, and the dynamics and interdependence between the different versions. A second but related aim is to test the claims of new media theorists, including Janet Murray, Pierre Lévy and Marie-Laure Ryan, among others, to establish how far texts, readers and the processes of reading have in fact changed. Specifically, it looks at how far the promises of reader participation and co-creation have been fulfilled, especially within the genre of children’s literature