Reading People Watching Music: Feminism, Fandom, Trolls

Laurie, T

Reading People Watching Music: Feminism, Fandom, Trolls

Laurie, T

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Publication Type:: Conference Proceeding
Citation:: 2016
Issue Date:: 2016-04-08

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Field	Value	Language
dc.contributor.author	Laurie, T https://orcid.org/0000-0002-3453-775X	en_US
dc.date.issued	2016-04-08	en_US
dc.identifier.citation	2016	en_US
dc.identifier.uri	http://hdl.handle.net/10453/45678
dc.description.abstract	This paper considers feminist approaches to contrasting modalities of communication in online forums and fansites. I begin by engaging with Eve Sedgwick's schematic distinction between paranoid and reparative readings, and link each modality to a different figure of the “troll”. While paranoia and repair each provide space for novel feminist reading practices around musical and visual cultures, the troll is defined either by a refusal to read, or by its production of noise that prevents others from continuing to read. Taking as my case studies the controversy surrounding Robin Thicke’s ‘Blurred Lines’, the paper argues that the politics of reading online may involve not only ideological combat over what people do read, but also a struggle over what people can legitimately claim not to have read.	en_US
dc.relation.ispartof	Emotion and Reading Symposium (Centre for the History of Emotions)	en_US
dc.title	Reading People Watching Music: Feminism, Fandom, Trolls	en_US
dc.type	Conference Proceeding
utslib.location.activity	University of Melbourne	en_US
utslib.for	2002 Cultural Studies	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	open_access
pubs.consider-herdc	false	en_US

Abstract:

This paper considers feminist approaches to contrasting modalities of communication in online forums and fansites. I begin by engaging with Eve Sedgwick's schematic distinction between paranoid and reparative readings, and link each modality to a different figure of the “troll”. While paranoia and repair each provide space for novel feminist reading practices around musical and visual cultures, the troll is defined either by a refusal to read, or by its production of noise that prevents others from continuing to read. Taking as my case studies the controversy surrounding Robin Thicke’s ‘Blurred Lines’, the paper argues that the politics of reading online may involve not only ideological combat over what people do read, but also a struggle over what people can legitimately claim not to have read.

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http://hdl.handle.net/10453/45678