Equality, Friendship, and Violence in Slash or Yaoi Fan Art
Slash or Yaoi fan art is the artwork that contains a
homosexual relationship between fictional male characters, who were
heterosexual in the original media. Previous belief about Slash or
Yaoi fan art is that the fan fiction writers and the fan artists need to
see the equality in romantic relationship. They do not prefer the
pairing of man and woman, since both genders are not equal. The
objectives of the current study are to confirm this belief, and to
examine the relationship between equality found in Slash fan art,
friendship in original media, and violence contained in fan art. Mean
comparisons show that equality could be found in the pairing of hero
and hero, but rarely found in the pairing of hero and villain.
Regression analysis shows that the level of equality in fan art and
friendship in original media are significant predictors of violence
contained in fan art. Since villain-related pairings yield a high level
of violence in fan art and a low level of equality, researchers of future
studies should find the strategies to prevent fans to include villains in
their Slash or Yaoi fan art.
[1] M. J. McLelland, “The World of Yaoi: The Internet, Censorship and the
Global “Boys’ Love” Fandom,” The Australian Feminist Law Journal,
vol. 23, pp. 61-77, 2005.
[2] P. Kalinowski, “The Fairest of Them All: The Creative Interests of
Female Fan Fiction Writers and the Fair Use Doctrine,” Wm. & Mary J.
of Women & L., vol. 20, pp. 655–709, 2014.
[3] C. Salmon and D. Symons, “Slash fiction and human mating
psychology,” Journal of Sex Research, vol. 41, no. 1, pp. 94–100, 2004.
[4] A. Kustritz, “Slashing the romance narrative,” The Journal of American
Culture, vol. 26, no. 3, pp. 371–384, 2003.
[5] C. Tosenberger, “Homosexuality at the online Hogwarts: Harry Potter
slash fanfiction,” Children's Literature, vol. 36, no. 1, pp. 185–207,
2008.
[6] V. Keft-Kennedy, “Fantasising Masculinity in Buffyverse Slash Fiction:
Sexuality, Violence, and the Vampire,” Nordic Journal of English
Studies, vol. 7, pp. 49–80, 2008.
[7] S. Katyal, “Performance, property, and the slashing of gender in fan
fiction,” Journal of Gender, Social Policy, and the Law, vol. 14, pp.
463, 2006.
[8] M. L. Leavenworth, “Lover revamped: sexualities and romance in the
black dagger brotherhood and slash fan fiction,” Extrapolation, vol. 50,
no. 3, pp. 442–462, 2009.
[9] Y. Ishikawa, “Yaoi: Fan Art in Japan,” Comparative Studies on Urban
Cultures, pp. 11-13, 2008.
[10] S. S. Pratiwi, “Women’s Portrayals in the Comic Books (A Visual
Grammar of the Heroines’ Portrayals in the Selected Comic Books
Published by Dc Comics and Marvel),” Passage, vol. 1, no. 2, pp. 119–
124, 2013.
[11] J. P. Dennis, “Drawing desire: male youth and homoerotic fan art,” of
LGBT Youth, vol. 7, no. 1, pp. 6–28, 2010.
[12] M. McLelland and S. Yoo, “The international Yaoi boys’ love fandom
and the regulation of virtual child pornography: current legislation and
its implications,” Journal of Sexuality Research and Social Policy, vol.
4, no. 1, pp. 93–104, 2007.
[13] M. J. McLelland, “Australia's proposed internet filtering system: its
implications for animation, comic and gaming (ACG) and slash fan
communities,” Media international Australia, incorporating Culture &
policy, vol. 134, pp. 7–19, 2010.
[14] F. Y. Lam, “Comic Market: How the World's Biggest Amateur Comic
Fair Shaped Japanese Dōjinshi Culture,” Mechademia, vol. 5, no. 1, pp.
232–248, 2010.
[15] W. L. Bolt, “The Hidden Authors: A Study and Survey of Fan Fiction
Writers,” 2004. Retrieved May 11th, 2015, from
http://trace.tennessee.edu/cgi/viewcontent.cgi?article=1715&context=ut
k_chanhonoproj
[16] L. S. Cook and P. Smagorinsky, “Constructing positive social updrafts
for extranormative personalities,” Learning, Culture and Social
Interaction, vol. 3, no. 4, pp. 296–308, 2014.
[17] N. Lamerichs, “The cultural dynamic of doujinshi and cosplay: Local
anime fandom in Japan, USA and Europe,” Participations, vol. 10, no.
1, pp. 232–248, 2010.
[18] R. W. Black, “Language, culture, and identity in online fanfiction,” Elearning
and Digital Media, vol. 3, no. 2, pp. 170–184, 2006.
[19] E. J. D. Gutiérrez, “Video games and gender-based violence,” Procedia
- Social and Behavioral Sciences, vol. 132, pp. 58–64, 2014.
[20] P. Arunragnsiwed, “The Confirmation Study of Mutant Being and
Friendship of Slash Characters in Original Media,” Silpakorn University
Journal of Social Sciences, Humanities, and Arts, vol. 16, no. 1, 2016.
[21] J. Brennan, “Slash Manips: Remixing popular media with gay
pornography,” M/C Journal, vol. 16, no. 4, 2013.
[22] D. Bazzini, L. Curtin, S. Regan and D. Martz, “Do Animated Disney
Characters Portray and Promote the Beauty–Goodness Stereotype?,”
Journal of Applied Social Psychology, vol. 40, no. 10, pp. 2687–2709,
2010.
[23] E. Woledge, Intimatopia: Genre intersections between slash and the
mainstream. Fan fiction and fan communities in the age of the internet,
2006, pp. 97–114.
[24] J. B. Helfgott, “Criminal behavior and the copycat effect: Literature
review and theoretical framework for empirical investigation,”
Aggression and Violent Behavior, vol. 22, pp. 46–64, 2015.
[25] P. Arunrangsiwed, “Like Me & Follow Me: A Relationship between
Homophily and Belief of Superheroes’ Fans,” Journal of communication
arts review (นิเทศศาสตรปริทัศน์), vol. 18, no. 2, pp. 35–50, 2015.
[26] Trending Now, “Highschool Student died after re-enacting the Fifty
Shades of Grey,” February 2015. Retrieved August 16th, 2015, from
http://trendingnow.altervista.org/highschool-student-died-re-enactingfifty-
shades-grey/
[27] M. D. Meyer, “Slashing Smallville: The interplay of text, audience and
production on viewer interpretations of homoeroticism,” Sexuality &
Culture, vol. 17, no. 3, pp. 476–493, 2013.
[28] Google Keyword Planner, “Google AdWords,” Retrieved November
16th, 2015, from https://adwords.google.com/ko/KeywordPlanner/
[1] M. J. McLelland, “The World of Yaoi: The Internet, Censorship and the
Global “Boys’ Love” Fandom,” The Australian Feminist Law Journal,
vol. 23, pp. 61-77, 2005.
[2] P. Kalinowski, “The Fairest of Them All: The Creative Interests of
Female Fan Fiction Writers and the Fair Use Doctrine,” Wm. & Mary J.
of Women & L., vol. 20, pp. 655–709, 2014.
[3] C. Salmon and D. Symons, “Slash fiction and human mating
psychology,” Journal of Sex Research, vol. 41, no. 1, pp. 94–100, 2004.
[4] A. Kustritz, “Slashing the romance narrative,” The Journal of American
Culture, vol. 26, no. 3, pp. 371–384, 2003.
[5] C. Tosenberger, “Homosexuality at the online Hogwarts: Harry Potter
slash fanfiction,” Children's Literature, vol. 36, no. 1, pp. 185–207,
2008.
[6] V. Keft-Kennedy, “Fantasising Masculinity in Buffyverse Slash Fiction:
Sexuality, Violence, and the Vampire,” Nordic Journal of English
Studies, vol. 7, pp. 49–80, 2008.
[7] S. Katyal, “Performance, property, and the slashing of gender in fan
fiction,” Journal of Gender, Social Policy, and the Law, vol. 14, pp.
463, 2006.
[8] M. L. Leavenworth, “Lover revamped: sexualities and romance in the
black dagger brotherhood and slash fan fiction,” Extrapolation, vol. 50,
no. 3, pp. 442–462, 2009.
[9] Y. Ishikawa, “Yaoi: Fan Art in Japan,” Comparative Studies on Urban
Cultures, pp. 11-13, 2008.
[10] S. S. Pratiwi, “Women’s Portrayals in the Comic Books (A Visual
Grammar of the Heroines’ Portrayals in the Selected Comic Books
Published by Dc Comics and Marvel),” Passage, vol. 1, no. 2, pp. 119–
124, 2013.
[11] J. P. Dennis, “Drawing desire: male youth and homoerotic fan art,” of
LGBT Youth, vol. 7, no. 1, pp. 6–28, 2010.
[12] M. McLelland and S. Yoo, “The international Yaoi boys’ love fandom
and the regulation of virtual child pornography: current legislation and
its implications,” Journal of Sexuality Research and Social Policy, vol.
4, no. 1, pp. 93–104, 2007.
[13] M. J. McLelland, “Australia's proposed internet filtering system: its
implications for animation, comic and gaming (ACG) and slash fan
communities,” Media international Australia, incorporating Culture &
policy, vol. 134, pp. 7–19, 2010.
[14] F. Y. Lam, “Comic Market: How the World's Biggest Amateur Comic
Fair Shaped Japanese Dōjinshi Culture,” Mechademia, vol. 5, no. 1, pp.
232–248, 2010.
[15] W. L. Bolt, “The Hidden Authors: A Study and Survey of Fan Fiction
Writers,” 2004. Retrieved May 11th, 2015, from
http://trace.tennessee.edu/cgi/viewcontent.cgi?article=1715&context=ut
k_chanhonoproj
[16] L. S. Cook and P. Smagorinsky, “Constructing positive social updrafts
for extranormative personalities,” Learning, Culture and Social
Interaction, vol. 3, no. 4, pp. 296–308, 2014.
[17] N. Lamerichs, “The cultural dynamic of doujinshi and cosplay: Local
anime fandom in Japan, USA and Europe,” Participations, vol. 10, no.
1, pp. 232–248, 2010.
[18] R. W. Black, “Language, culture, and identity in online fanfiction,” Elearning
and Digital Media, vol. 3, no. 2, pp. 170–184, 2006.
[19] E. J. D. Gutiérrez, “Video games and gender-based violence,” Procedia
- Social and Behavioral Sciences, vol. 132, pp. 58–64, 2014.
[20] P. Arunragnsiwed, “The Confirmation Study of Mutant Being and
Friendship of Slash Characters in Original Media,” Silpakorn University
Journal of Social Sciences, Humanities, and Arts, vol. 16, no. 1, 2016.
[21] J. Brennan, “Slash Manips: Remixing popular media with gay
pornography,” M/C Journal, vol. 16, no. 4, 2013.
[22] D. Bazzini, L. Curtin, S. Regan and D. Martz, “Do Animated Disney
Characters Portray and Promote the Beauty–Goodness Stereotype?,”
Journal of Applied Social Psychology, vol. 40, no. 10, pp. 2687–2709,
2010.
[23] E. Woledge, Intimatopia: Genre intersections between slash and the
mainstream. Fan fiction and fan communities in the age of the internet,
2006, pp. 97–114.
[24] J. B. Helfgott, “Criminal behavior and the copycat effect: Literature
review and theoretical framework for empirical investigation,”
Aggression and Violent Behavior, vol. 22, pp. 46–64, 2015.
[25] P. Arunrangsiwed, “Like Me & Follow Me: A Relationship between
Homophily and Belief of Superheroes’ Fans,” Journal of communication
arts review (นิเทศศาสตรปริทัศน์), vol. 18, no. 2, pp. 35–50, 2015.
[26] Trending Now, “Highschool Student died after re-enacting the Fifty
Shades of Grey,” February 2015. Retrieved August 16th, 2015, from
http://trendingnow.altervista.org/highschool-student-died-re-enactingfifty-
shades-grey/
[27] M. D. Meyer, “Slashing Smallville: The interplay of text, audience and
production on viewer interpretations of homoeroticism,” Sexuality &
Culture, vol. 17, no. 3, pp. 476–493, 2013.
[28] Google Keyword Planner, “Google AdWords,” Retrieved November
16th, 2015, from https://adwords.google.com/ko/KeywordPlanner/
@article{"International Journal of Business, Human and Social Sciences:71485", author = "Proud Arunrangsiwed", title = "Equality, Friendship, and Violence in Slash or Yaoi Fan Art", abstract = "Slash or Yaoi fan art is the artwork that contains a
homosexual relationship between fictional male characters, who were
heterosexual in the original media. Previous belief about Slash or
Yaoi fan art is that the fan fiction writers and the fan artists need to
see the equality in romantic relationship. They do not prefer the
pairing of man and woman, since both genders are not equal. The
objectives of the current study are to confirm this belief, and to
examine the relationship between equality found in Slash fan art,
friendship in original media, and violence contained in fan art. Mean
comparisons show that equality could be found in the pairing of hero
and hero, but rarely found in the pairing of hero and villain.
Regression analysis shows that the level of equality in fan art and
friendship in original media are significant predictors of violence
contained in fan art. Since villain-related pairings yield a high level
of violence in fan art and a low level of equality, researchers of future
studies should find the strategies to prevent fans to include villains in
their Slash or Yaoi fan art.
", keywords = "Equality, fan art, slash, violence, yaoi.", volume = "9", number = "12", pages = "4143-5", }
