Journal articles on the topic 'Twilight (Meyer, Stephenie)'

Stephenie Meyers’ Twilight tetralogy has lately become an enormously successful phenomenon in contemporary popular fiction, especially among a young adult readership. Regarded as a mixture of genres, the Twilight series can be described as a paradigm of contemporary popularculture gothic romance. Stephenie Meyer has recently acknowledged she bore one literary classic in mind when writing each of the volumes in the series. In particular, her third book, Eclipse (2007), is loosely based on Emily Brontë’s Victorian classic Wuthering Heights (1847). This paper aims at providing a comparative analysis of both Brontë’s novel and Meyer’s adaptation, taking into consideration the way the protofeminist discourse that underlines Brontë’s text is not only subverted but also acquires significantly reactionary undertones in Meyer’s popular romance despite its contemporariness.

Men and women are created equal, and they are perfected by His creator by being given the rights inherent in him, the right to life, freedom, and the achievement of happiness. Therefore, the writer in this paper wants to look at figures who have a feminist perspective in the Twilight novel by Stephenie Meyer. Women with all the dynamics that oppose the material and source of inspiration that will never end. Woman is a figure that has two very opposite sides. On one side of a woman is a very charming beauty. However, on the other hand, women are often considered weak. In this connection, the problem that will be discussed in this paper is how to describe the perspective of the feminism of the characters in the novel by Stephenie Meyer. This paper is examined using descriptive-textual method and sociology literature approach.AbstrakLaki-laki maupun perempuan diciptakan sederajat, dan mereka disempurnakan oleh pencipta-Nya dengan diberi hak-hak yang melekat dalam dirinya, hak untuk hidup, kebebasan, dan pencapaian kebahagiaan. Oleh karena itu, penulis dalam makalah kali ini ingin menilik tokoh-tokoh yang berperspektif feminisme dalam novel Twilight karya Stephenie Meyer. Wanita dengan segala dinamika yang ada padanya seolah menjadi bahan dan sumber inspirasi yang tidak akan pernah ada habisnya. Wanita adalah sosok yang mempunyai dua sisi yang sangat berlawanan. Di satu sisi wanita adalah keindahan yang begitu sangat memesona,. Namun, di sisi yang lain, wanita sering dianggap lemah. Berdasarkan itulah, masalah yang akan dibahas dalam makalah ini adalah bagaimanakah gambaran perspektif feminisme tokoh-tokoh dalam novel karya Stephenie Meyer. Makalah ini dikaji menggunakan metode deskriptif-tekstual dan pendekatan sosiologi sastra.

Author Stephenie Meyer forever altered the cultural existence of Quileute Indians when she wrote them into her Twilight novels. Now a veritable global phenomenon complete with books, movies, and affiliated merchandise, the Twilight series depicts young, male members of the tribe as vampire-fighting werewolves who ferociously defend a peace and territorial treaty made with local bloodsuckers. In reality, the Quileute Tribe consists of approximately 700 Indians, many of whom live on a remote reservation in the pacific Northwest, a tiny parcel of the once vast Quileute territory. Since Twilight's unprecedented international success, the Quileute have been overwhelmed with fans and entrepreneurs, all grasping, quite literally in some cases, for their own piece of the Quileute.

Cover dalam sebuah novel merupakan bentuk komunikasi visual yang menjadi identitas dari novel tersebut. cover sejatinya mewakili isi dari cerita di dalam novel sehingga menarik perhatian membaca. Komunikasi visual merupakan sebuah bentuk pesan kepada masyarakat luas melalui bentuk gambar. Tujuan penelitian ini adalah untuk menganalisis cover novel Twilight seri pertama karya dari Stephenie Meyer. Metode penelitian menggunakan pendekatan kualitatif secara deskriptif dengan analisis menggunakan unsur komunikasi visual. Teknik pengumpulan data dilakukan dengan observasi dan studi pustaka. Hasil penelitian menunjukkan pada cover novel Twilight mengunakan warna hitam yang memberikan kesan misterius dan kekuatan yang mencerminkan sosok vampire di dalam cerita tersebut. Untuk gambar apel berwarna merah yang dipegang ini melambangkan sesuatu yang rapuh, warna merah sendiri menggambarkan sesuatu yang berkaitan dengan hidup, cinta, darah, dan lain-lain. Untuk keseluruhan font dominan menggunakan warna putih yang berbanding terbalik dengan warna background, hal ini bertujuan agar font lebih mudah dan jelas untuk dibaca.

My paper suggests that the Twilight saga’s enormous popularity is closely tied to its author’s tension-filled relationship with her fans, who claim ownership of her text by forcing their own interpretations through online media. The result is that through engaging with her fans, Stephenie Meyer actually empowers the Twilight fandom and alters the role readers play in the tri-part relationship of reader, author, and text. Fan studies and reception theory help me to effectively examine this dynamic by considering interpretations of what is “canon,” representations of women, and the creation of new Twilight books.

The paper examines the celebration of the feminine self in Stephenie Meyer’s Twilight through the character- Bella. While most of women’s writings carry a feminist voice asserting women’s individuality, the writers of Gothic romances concentrate more on the celebration of the feminine self rather than challenging the binaries of gender. Stephenie Meyer, by putting her heroine Bella into a traditional feminine frame provides her full scope to exercise her freedom to choose even while carrying out the prescribed feminine roles. Through the analysis of the character, there will be an attempt to demonstrate that while enjoying one’s inequality how one can prove the uniqueness of one’s individuality.

Contemporary teenage vampire fiction has helped revitalize the genre by attracting a new generation of readers. In so doing, some changes have been introduced so as to make the figure of the vampire more appealing to a largely female teenage readership. Coinciding with the tenth anniversary of the publication of Twilight by Stephenie Meyer, this article analyzes how the Twilight series and the earlier The Vampire Diaries by L. J. Smith update and modernize the Byronic hero on which vampires are largely modeled. It also explores the possible effects of this new characterization on readers’ minds and the alarm it has created.

Le mythe du vampire a inspiré de nombreuses créations littéraires et audio-visuelles qui ont, pour certaines, cherché à atteindre un public adolescent. C’est le cas de la saga cinématographique Twilight (adaptation des romans de Stephenie Meyer) que les quatre BD espagnoles du cycle Crepúsculon s’emploient à parodier. Nous aborderons Crepúsculon en adoptant une approche exclusivement linguistique, et, en particulier, dans le cadre de cet article, onomastique, par le biais des tropes rhétoriques.

Stephenie Meyer's Twilight series (2005–8) demonstrates a strong connection with the theology, cultural practices and history of The Church of Jesus Christ of Latter-day Saints (LDS), of which Meyer is an active member. One of the strongest ways in which this connection is demonstrated is through characterisation: specifically, by featuring vampires and werewolves as prominent supernatural characters in the text. Twilight employs vampires as a metaphor for the LDS Church. By eschewing literature's traditional association of vampires with subversive acts, especially subversive sexuality, and rewriting them as clean-cut pillars of the community, Twilight not only charts but promotes the progression of Latter-day Saints from nineteenth century social pariahs to modern day exemplars of conservative American family values. The series represents its Native American shapeshifting werewolves as an ancient group of people from LDS scriptural history called Lamanites, who were cursed by God with ‘a skin of blackness’ for their ‘iniquity’ (Book of Mormon, 2 Nephi 5:21). The construction of the werewolves as impoverished and socially marginalised yet with strong family ties enables the treatment of race in Twilight to move beyond a standard white/non-white binary frame to engage at a deeper level with LDS stereotyping of Native American people.

Cet article s’intéresse au caractère transgressif de la fanfiction qui, tout en se nourrissant de la production officielle, s’en dissocie en défiant ses règles et en enfreignant certains codes, autant littéraires qu’idéologiques. Il aborde la question du fandom associé à la tétralogie de Stephenie Meyer, Twilight, pour ensuite approfondir certaines réécritures de récits hétéronormatifs en scénarios homosexuels ou lesbiens. Il explore finalement le potentiel didactique de la fanfiction : en plus de servir de plate-forme créative, elle permet à des jeunes de réfléchir sur la marginalité et d’explorer d’autres réalités.

This article reads Breaking Dawn by Stephenie Meyer in relation to the emergent 24/7 expectation of postmodern capitalism. The novel’s focus on sleeplessness and illumination, on sparkle and consumerism, points to a contemporaneous engagement with new modalities of twenty-first-century consumption and production. Consequently, the novel’s redefinition of the vampire as posthumanist warrior-consumer is merely the latest iteration of the connection of the otherness of vampirism to the mobility of capital.

The article presents an analysis of Stephenie Meyer’s Twilight novels as modern literary fairy-tales. To this end, the discussion will refer to structuralist critics, and identify “narrative functions” from folktales (stock images and episodes, stock character functions, characteristic sequences of episodes), used by Meyer in her vampire novels. As it turns out, Meyer modified folklore material to sustain a long and variously themed narrative: by embedding numerous subplots, by rearranging functions between characters, and creating composite and collective characters that combine contradictory functions. The author transformed several folktales into a series of four novels about coming of age in the twenty-first-century United States. A detailed analysis of Meyer’s modifications of the folktale partially corroborates the feminist critique of Meyer’s representation of the protagonists as reinforced versions of cultural stereotypes and gender roles. However, some transformations, especially Meyer’s assignment of the hero-function to the female protagonist Bella, seem to suggest just the opposite, thus leading to the conclusion that the Twilight novels reflect the confusion caused by contradictory role-models and aspirations, the confusion that seems to be inherent in a coming-of-age novel.

Talking irony as one of the figures of speech has been commonly discussed not only in daily conversation but also in social media, contemporary fiction, and different works of literature. However, the study of irony itself is not widely discussed in the novel. This study aims to find the verbal irony that occurs in the novel and in what situations it occurs. The data were taken from the novel “Twilight” written by Stephenie Meyer. The theory is adapted from Winokur (2007) about the definition of verbal irony. This study uses a qualitative approach and data are collected by note-taking and classified into the types of irony. The findings of this study, there are 14 data of verbal irony occur in this study. This study also found that the ironic criticism in the novel appears to minimize the negative meaning of the message. So, it may reduce the level of criticism for the addressee to save face. Explaining Verbal Irony in the Novel is really different from what we communicate in real situations. We have to read the whole text to find the implicit meaning of the irony. For the next study, we can analyze the comparison between irony and humor in literary work, such as novels to have more sight into those signals.

This study discusses the nonverbal communication particularly body language. This study focuses on kinesics such as: eye contact, posture, and facial expression of the male main character (Edward Cullen) and the female main character (Bella Swan) in Twilight movie by Stephenie Meyer. The aims of this study is to know the meaning behind those nonverbal communications of male main character and female main character as their acting in the movie. The method used to answer the problem of this study is Descriptive qualitative. The data of this study is a film entitled Twilight produced in 2008. The data is described in the form of images and words. From this study, it can be seen that there are three kinds of nonverbal communication used by the male and female main character. Those are eye contact, posture, and facial expression where the nonverbal communication used by the male character is concerned, serious, brave, romantic, cool postures, friendly and bright eyes. Whereas the female character uses dim eye contact, glace and shock posture, and amazed facial expression. It is found that there are several differences of using nonverbal communication between male and female character in the movie.

This paper analyzes the problems or conflicts related to the character of Bella Swan who colors the plot in the Twilight series written by Stephenie Meyer, a popular literary romance genre with a vampire theme, a New York Times Best Seller, that consists of four (4) series, namely Twilight, New Moon, Eclipse, and Breaking Dawn. The author uses the Symptomatic Reading theory based on several expert opinions and basic theories about romance and fantasy, as well as several other expert opinions about this work. Written from the perspective of the main character, Bella, the four Twilight series explicitly and implicitly show some of the problems or conflicts that Bella experienced as a young girl approaching adulthood. The conflicts she experiences stem from his family, herself, and her love life. By analyzing this series of novels, the author not only presents the differences between ideological matters and the facts or reality of the main character's problems, but also raises a new understanding or perhaps more precisely an acknowledgment of the realities that underlie family circumstances, choices and desires of an individual like Bella. Through this analysis, some values or discussions can be drawn and overviewed and can be taken into consideration for the teaching and learning in literature classes, or for the general readers and movie goers in general; bearing in mind that popular literature is no longer a topic to be taken lightly, but must be criticized and benefited from in this era of media and technology, which, in turn, greatly influences the popular culture itself. Thus, it is hoped as well that there will be a balance in knowledge and decision-making in discussions about popular literature.

Many previous works have demonstrated that Shakespeare’s Romeo and Juliet offers gothic authors, directors, and other artists a hospitable topos. I extend this critical corpus to consider the way in which young adult (YA) undead novels—written by American women writers within a few years of each other in the early twenty-first century—understand the Capulet crypt as a gothic space. I use the term “undead” throughout since although the focus of this fiction is on vampires, some texts also include zombies and other revenants. The chosen novels belong to a moment of extreme popularity for Romeo and Juliet vampire fiction, the best-known example being Stephenie Meyer’s Twilight saga. The texts of Meyer, Claudia Gabel, Lori Handeland, and Stacey Jay include diverse elements from Romeo and Juliet, from fleeting quotations to sustained reworkings of characters and plot. I conclude that a shift away from the confining and distressing gothic space in Shakespeare’s Romeo and Juliet as the Capulet crypt to a more graphic containment in a variety of sarcophagi, or within Juliet’s body itself, is discernible in most of these retellings. This shift is explained with reference to the growth in populairt not just of female, but feminist, gothic and the turn to the body in literary criticism from the 1990s onwards. In this way, Romeo and Juliet can be understood as providing a hospitable topos for the twenty-first century feminisms of these authors and their young, predominantly female, readers.

AbstractThe purpose of this research is to find out internal and external conflicts of the main character’s in the novel "Twilight Saga New Moon" by Stephenie Meyer that can be useful in building students and teachers’ good character’s specifically for English students of FKIP Untan. The method of this research is Descriptive Research. The novel consist 24 chapters and 563 pages. The methods that have been used and it was conducted in five stages, namely: (1) Characterization : who is the main character’s in the novel “Twilight Saga: New Moon by Stephenie Meyer, (2) Incident and interactions: what happens in the story with whom she interacts conflicts novel (3) The place: where the story takes place,(4) Time: when the story happened on the main character, (5) Theme: what are the themes in the story. The results showed that the main character has a unique character who is attracted to Edward. She knew the risks were enormous, very dangerous, but she was desperate for what she wanted. The conclusion is to give the reader an overview through Bella's experience of social life, how to prioritize attention to others, affection, love, and even friendship.Keywords: Twilight Saga New Moon, Main Character’s, Love and Friendship.

Kim, Young, and Stephenie Meyer. Twilight: The Graphic Novel. New York: Yen Press, 2011. PrintI read the book Twilight the graphic novel volume 2 by Stephenie Meyer and published by Yen Press. It was written in the year 2005, the year I was born. It even has a movie about it!! The movie is really good you should watch it.The story was about this girl named Bella she moved to this town with her dad called Forks. Started school there and in her class there was a boy named Edward they became friends and she found out he was a vampire same with his whole family. And Bella and Edward fell in love with each other.My favorite part of the book was when Bella met Edwards family and when she met Edwards sister Alice. Bella found out Alice can see what is going to happen in the future with her mind. I thought that was really cool.But I didn’t like how the book wasn't the same as the movie because the movie has more details and more action. But people are different so you might like the book more than the movie but other than that the book is really good. Out of 1-5, I rate it a 4.And if you do read the book and if you want to read more here is the author’s website... www.stepheniemeyer.com Highly Recommended: 4 out of 5 starsReviewer: AshlynnMy name is Ashlynn. I love to read nonfiction and fiction chapter books. My favorite place to read is outside or inside in my bedroom. I think reading is important because you can learn stuff you didn't know before and it helps you in school and you can get smarter by reading if you keep practicing.

Fan cultural production, be it in the form of fan fiction, art or videos are often celebrated in fan studies as evidence of fan creativity, fans’ skills in adopting technology and their expert knowledge of the texts. As Jenkins argues, “the pleasure of the form centers on the fascination in watching familiar images wrenched free from their previous contexts and assigned alternative meanings” (227). However, can fan mash-up videos can also offer an alternative view, not of one’s fandom, but of anti-fandom? Fan pleasure is often seen as declaring love for a text through juxtaposing images to sound in a mash-up video, but this paper will argue that it can also demonstrate hate. Specifically, can these videos affirm anti-fandom readings of a particular text, when clips from two (or more) different texts, seemingly of the same genre and targeting the same demographics, are edited together to offer an alternative story? In 2009, a video entitled Buffy vs Edward: Twilight Remixed (hereafter BvE) (See Video 1) was uploaded to YouTube, juxtaposing clips from across the seven series of Buffy, the Vampire Slayer and the first film of the Twilight series. Twilight is a series of novels written by Stephenie Meyer which was adapted into a successful series of five films between the period of 2008 and 2012. Its vampire-centric romance story has resulted in numerous comparisons to, among others, the cult and popular television series, Buffy the Vampire Slayer (hereafter Buffy) created by Joss Whedon, which aired from 1997 to 2003. In BvE, which has over three million views to date and reportedly has been translated into thirty different languages, Jonathan McIntosh, the video’s creator, “changes Edward Cullen from a smouldering, sparkly antihero into a self-obsessed stalker who's prone to throwing tantrums. Buffy Summers reacts to him with disdain and dwindling patience, assertively rebuking his every self-indulgence” (Leduc). By editing together clips from two texts seemingly of the same genre and targeting the same demographics, this video affirms an anti-fandom reading of Twilight. Video 1: Buffy vs Edward: Twilight RemixedOn the first viewing of the video, I was struck by how accurately it portrayed my own misgivings about Twilight, and by how I had wished Bella Swan was more like Buffy Summers and been a positive role model for girls and women. The content of the video mash-up—along with fan reactions to it—suggests and perpetuates an anti-fandom reading of Twilight via Buffy, by positioning the latter as a text with higher cultural value, in terms of its influence and representations of female characters. As McIntosh himself clarifies in an interview, “the audience is not supposed to go “Oh, see how TV is stupid?” They’re supposed to go “Oh, see how Buffy was awesome!”” (ikat381). As such, the BvE mash-up can be read, not just as a criticism of popular commercial texts, but also as an anti-fan production. Much work surrounding fan culture extrapolates on fans’ love for a text, but I’d like to propose that mash-ups such as BvE reaffirms anti-fandom readings of derided texts via another that is deemed—and presented—as culturally more valuable. In this essay, BvE will be used as an example of how anti-fandom productions can reinforce the audience’s opinion of a despised text. When BvE first launched, it was circulated widely among Buffy fandom, and the narrative of the mash-up, and its implications were debated rather fiercely on Whedonesque.com [http://whedonesque.com/comments/20883], one of the main sites for Joss Whedon’s fandom. Comparisons between the two texts, despite existing in different mediums (film vs. television), were common among general media—some survey respondents reveal they were persuaded to read the books or watch the first film by its assumed similarities to Buffy— as both feature somewhat similar storylines on the surface: a young, teenaged (human) girl falling in love with a vampire, and were presumably aimed at the same demographics of teenaged and college-aged girls. The similarities seem to end there though, for while Buffy is often hailed as a feminist text, Twilight is dismissed as anti-feminist, down to its apparently rabid and overly-emotional (female) fanbase. As one Buffy fan on Whedonesque clarifies: Buffy was more real than Bella ever thought of being. Buffy was flawed, made mistakes, bad decisions and we never saw her sort out a healthy romantic relationship but she was still a tremendous role model not for just teen girl but teen boys as well. […] Bella's big claim to fame seems to be she didn't sleep with her boyfriend before marriage but that was his choice, not hers. BvE appears to reflect the above comparison, as McIntosh justifies the video as “a pro-feminist visual critique of Edward’s character and generally creepy behaviour”—essentially a problem that Buffy, as a vampire slayer and a feminist icon can solve (for the greater good). For the purpose of this paper, I was interested to see if those who are active in fandom in general are aware of the BvE video, and if it informs or reaffirms their anti-fandom views of Twilight. Methodology A short online survey was devised with this in mind and a link to the survey was provided via Twitter (the link was retweeted 27 times), with the explanation that it is on Twilight anti-fandom and the BvE mash-up video. It was further shared on Facebook, by friends and peers. At the same time, I also requested for the link to be posted by the administrators of Whedonesque.com. Despite the posting at Whedonesque, the survey was not particularly aimed at Buffy fans, but rather fans in general who are familiar with both texts. The survey received 419 responses in the span of 24 hours, suggesting that the topic of (Twilight) anti-fandom is one that fans—or anti-fans—are passionately engaged with. Out of the 419 responses, 357 people have seen BvE, and 208 have read the book(s) and/or saw the film(s). The other 211 respondents came into contact with Twilight through paratexts, “semi-textual fragments that surround and position the work” (Gray New 72), such as trailers, word-of-mouth and news outlets. Anti-Fandom, Twilight, and the Buffy vs Edward Mash-Up Fan studies have given us insights into the world of fandom, informing us about the texts that fans love, what fans do with those texts and characters, and how fans interact with one another within the context of fandom. As Henry Jenkins explains: Fan culture finds that utopian dimension within popular culture a site for constructing an alternative culture. Its society is responsive to the needs that draw its members to commercial entertainment, most especially the desire for affiliation, friendship, community (282). Fan studies has obviously progressed from Jenkins’s initial observations as fan scholars subsequently proceed to complicate and augment the field. However, many gaps and silences remain to be filled: Hills (2002) […] argued that fandom is ‘not a thing that can be picked over analytically’ (pp. xi-xii) and separated into neat categories, but is a performative, psychological action that differs according to person, fandom, and generation (Sheffield and Merlo 209). In a 2003 article, Jonathan Gray reflects that in fan scholars’ enthusiasm to present the many interesting facets of fan culture, “reception studies are distorting our understanding of the text, the consumer and the interaction between them” (New Audiences 68). So while there is the friendship, affiliation and sense of community where fans share their mutual affection for their favourite texts and characters, there are also those who engage critically with the texts that they dislike. Gray identifies them as the anti-fans, arguing that these anti-fans are not “against fandom per se, […] but they strongly dislike a given text or genre, considering it inane, stupid, morally bankrupt and/or aesthetic drivel” (New New Audiences 70). Most anti-fans’ encounter with their hated text will not merely be through the text itself, but also through its surrounding paratexts, such as trailers and press articles. These paratextual pieces inform the anti-fan about the text, as much as the original text itself, and together they add to the formation of the anti-fannish identity: Rather than engaging the text directly, […] anti-fans often respond to a “text” they construct from paratextual fragments such as news coverage or word-of-mouth, reading, watching, and learning all they can about a show, book, or person in order to better understand and criticize the text (and, very often, its fans) (Sheffield and Merlo 209). Media attention directed at the Twilight franchise, as well as the attention Twilight fans receive has made it a popular subject in both fan and anti-fan studies. Dan Haggard, in a 2010 online posting, commented on the fascinating position of Twilight fans in popular culture: The Twilight fan is interesting because of reports (however well substantiated) of a degree of extremism that goes beyond what is acceptable, even when considered from a perspective relative to standard fan obsession. The point here is not so much whether Twilight fans are any more extreme than standard fans, but that there is a perception that they are so. (qtd. in Pinkowitz) Twilight fans are more often than not, described as “rabid” and “frenzied” (Click), particularly by the media. This is, of course, in total opposition to the identity of the fan as effective consumer or productive (free) labourer, which scholars like Baym and Burnett, for example, have observed. The anti-fandom in this case seems to go beyond the original text (both the books and the film franchises), extending to the fans themselves. Pinkowitz explains that the anti-fans she examined resent the success Twilight has amassed as they consider the books to be poorly written and they “strongly dislike the popular belief that the Twilight books are good literature and that they deserve the fanaticism its rabid fans demonstrate”. Some survey respondents share this view, criticising that the “writing is horrible”, the books have “awful prose” and “melodramatic characterisations”. Sheffield and Merlo demonstrate that the “most visible Twilight anti-fan behaviors are those that mock or “snark” about the “rabid” Twilight fans, who they argue, “give other fans a bad name”” (210). However, BvE presents another text with which Twilight can be compared to in the form of Buffy. As one survey respondent explains: Bella is a weak character who lacks agency. She lacks the wit, will-power, and determination that makes Buffy such a fun character. […] She is a huge step back especially compared to Buffy, but also compared to almost any modern heroine. Paul Booth argues that for mash-ups, or remixes, to work, as audiences, we are expected to understand—and identify—the texts that are referenced, even if they may be out of context: “we as audiences must be knowledgeable about both sources, as well as the convergence of them, in order to make sense of the final product”. Survey respondents have commented that the mash-up was “more about pleasing Buffy fans”, and that it was “created with an agenda, by someone who hates Twilight and loves Buffy,” which gives “a biased introduction to Buffy”. On the other hand, others have commented that the mash-up “makes [Twilight] seem better than it actually is”, and that it “reinforced [their] perceptions” of Twilight as a weaker text. Booth also suggests that mash-ups create new understandings of taste, of which I would argue that is reinforced through BvE, which McIntosh describes as a “metaphor for the ongoing battle between two opposing visions of gender roles in the 21st century”. In fact, many of the survey respondents share McIntosh’s view, criticising Twilight as an anti-feminist text that, for all its supposed cultural influence, is sending a dangerous message to young girls who are the target demographic of the franchise. As they reflect: It bothers me that so many people (and especially women) love and embrace the story, when at its crux it is about a woman trying to choose between two men. Neither men are particularly good/safe for her, but the book romanticizes the possible violence toward Bella. The idea that Bella is nothing without Edward, that her entire life is defined by this man. She gives up her life—literally—to be with him. It is unhealthy and obsessive. It also implies to women that stalking behaviour like Edward's is romantic rather than illegal. I think what bothers me the most is how Meyers presents an abusive relationship where the old guy (but he's sparkly and pretty, so it's ok) in question stalks the heroine, has her kidnapped, and physically prevents her from seeing whom she wants to see is portrayed as love. In a good way. These testimonials show that fans take a moral stand towards Twilight’s representation of women, specifically Bella Swan. Twilight acts in counterpoint to a text like Buffy, which is critically acclaimed and have been lauded for its feminist representation (the idea that a young, petite girl has the power to fight vampires and other supernatural creatures). The fact that Buffy is a chronological older text makes some fans lament that the girl-power and empowerment that was showcased in the 1990s has now regressed down to the personification of Bella Swan. Gray argues that anti-fandom is also about expectations of quality and value: “of what a text should be like, of what is a waste of media time and space, of what morality or aesthetics texts should adopt, and of what we would like to see others watch or read” (New 73). This notion of taste, and cultural value comes through again as respondents who are fans of Buffy testify: It's not very well-written. I strongly dislike the weak parallels one could draw between the two. Yes Angel and Spike went through a creepy stalking phase with Buffy, and yes for a while there was some romantic triangle action but there was so much more going on. […] My biggest issue is with Bella's characterization. She has flaws and desires but she is basically a whiney, mopey blob. She is a huge step back especially compared to Buffy, but also compared to almost any modern heroine. There is tremendous richness in Buffy—themes are more literate, historically allusive and psychologically deeper than boy-meets-girl, girl submits, boy is tamed. Edward Cullen is white-faced and blank; Spike and Angel are white-faced and shadowed, hollowed, sculpted—occasionally tortured. Twilight invites teen girls to project their desires; Spike and Angel have qualities which are discovered. Buffy the character grows and evolves. Her environment changes as she experiences the world around her. Decisions that she made in high school were re-visited years later, and based on her past experiences, she makes different choices. Bella, however, loses nothing. There's no consequence to her being turned. There's no growth to her character. The final act in the mash-up video, of Buffy slaying Edward can be seen as a re-empowerment for those who do not share the same love for Twilight as its fans do. In the follow-up to his 2003 article that launched the concept of anti-fandom, Gray argues that: Hate or dislike of a text can be just as powerful as can a strong and admiring, affective relationship with a text, and they can produce just as much activity, identification, meaning, and “effects” or serve just as powerfully to unite and sustain a community or subculture (Antifandom 841). Conclusion The video mash-up, in this case, can be read as an anti-fandom reading of Twilight via Buffy, in which the superiority of Buffy as a text is repeatedly reinforced. When asked if the mash-up video would encourage the survey respondents to consider watching Twilight (if they have not before), the respondents’ answers range from a repeated mantra of “No”, to “It makes me want to burn every copy”, to “Not unless it is to mock, or for the purpose of a drinking game”. Not merely resorting to mocking, what McIntosh’s mash-up video has given Twilight anti-fans is yet another paratextual fragment with which to read the text (as in, Edward Cullen is creepy and controlling, therefore he deserves to be slayed, as should have happened if he was in the Buffy universe instead of Twilight). In other words, what I am suggesting here is that anti-fandom can be enforced through the careful framing of a mash-up video, such as that of the Buffy vs Edward: Twilight Remixed mash-up, where the text considered more culturally valuable is used to read and comment on the one considered less valuable. References Baym, Nancy, and Robert Burnett. Amateur Experts: International Fan Labour in Swedish Independent Music. Copenhagen, Denmark, 2008. Booth, Paul. “Mashup as Temporal Amalgam: Time, Taste, and Textuality.” Transformative Works and Cultures 9 (2012): n. pag. 3 Apr. 2013 < http://journal.transformativeworks.org/index.php/twc/article/view/297/285 >. Click, Melissa. “‘Rabid’, ‘Obsessed’, and ‘Frenzied’: Understanding Twilight Fangirls and the Gendered Politics of Fandom.” Flow 11.4 (2009): n. pag. 18 June 2013 < http://flowtv.org/2009/12/rabid-obsessed-and-frenzied-understanding-twilight-fangirls-and-the-gendered-politics-of-fandom-melissa-click-university-of-missouri/ >. Gray, Jonathan. “Antifandom and the Moral Text: Television without Pity and Textual Dislike.” American Behavioral Scientist 48 (2005): 840–858. ———. “New Audiences, New Textualities: Anti-Fans and Non-Fans.” International Journal of Cultural Studies 6.1 (2003): 64–81. Hills, Matt. Fan Cultures. London: Routledge, 2002. ikat381. “Total Recut Interviews Jonathan McIntosh about Buffy vs. Edward.” Total Recut 24 Dec. 2009. 20 July 2013 < http://www.totalrecut.com/permalink.php?perma_id=265 >. Jenkins, Henry. Textual Poachers: Television Fans & Participatory Culture. New York: Routledge, 1992. Leduc, Martin. “The Two-Source Illusion: How Vidding Practices Changed Jonathan McIntosh’s Political Remix Videos.” Transformative Works and Cultures 9 (2012): n. pag. 19 July 2013 < http://journal.transformativeworks.org/index.php/twc/article/view/379/274 >. McIntosh, Jonathan. “Buffy vs Edward: Twilight Remixed.” Rebelliouspixels 20 June 2009. 2 Apr. 2013 < http://www.rebelliouspixels.com/2009/buffy-vs-edward-twilight-remixed >. Pinkowitz, Jacqueline. “‘The Rabid Fans That Take [Twilight] Much Too Seriously’: The Construction and Rejection of Excess in Twilight Antifandom.” Transformative Works and Cultures 7 (2011): n. pag. 21 June 2013 < http://journal.transformativeworks.org/index.php/twc/article/view/247/253 >. Sheffield, Jessica, and Elyse Merlo. “Biting Back: Twilight Anti-Fandom and the Rhetoric of Superiority.” Bitten by Twilight: Youth Culture, Media and the Vampire Franchise. Eds. Melissa Click, Jessica Stevens Aubrey, & Elizabeth Behm-Morawitz. New York: Peter Lang Publishers, 2010. 207–224.

Make Love, Doktorspiele und Doing It – Sexualität scheint auch in der Jugendliteratur omnipräsent zu sein. Trotz der vordergründigen Konzentration und der Anerkennung sexueller Gefühle Jugendlicher ist die Literatur aber von Unbehagen geprägt: Die jugendlichen Charaktere erfahren ihr sexuelles Verlangen als deviant, als Fremdkörper, der sich ihrer ermächtigt, als äußere Kraft, die sie nicht kontrollieren können. Der Artikel geht vor allem der Frage nach, wie die Darstellung von Sexualität in der aktuellen Jugendliteratur mit sexueller Handlungsgewalt der Hauptfiguren einhergeht: Inwiefern sind die Figuren sexuell selbstbestimmt bzw. unterwerfen sie ihre sexuellen Wünsche gesellschaftlichen Vorgaben? Ein Fokus der Analyse liegt auf den Geschlechtsunterschieden in der Darstellung von Sexualität. Abschliessend widmet sich der Artikel der Frage, wie die Erotisierung von Gewalt und die Darstellung sexueller Grenzüberschreitungen in diesem Zusammenhang einzuordnen sind. Untersucht werden dabei schwerpunktmässig unterschiedliche Werke der Mainstreamliteratur: Stephenie Meyers Twilight, Suzanne Collins‘ The Hunger Games, J. K. Rowlings Harry Potter, Lisa J. Smiths Vampire Diaries und Sue Limbs Jess Jordan-Reihe. Die sexuelle Geschlechtsrollenverteilung in den meisten Romanen ist ausserordentlich traditionell: Die männlichen Charaktere haben die sexuelle Handlungsgewalt, die weiblichen hingegen reagieren lediglich auf die Initiative ihrer Partner (oder den Mangel daran). Twilight stellt dabei die überraschende Ausnahme dar: Trotz der regressiven Sexualmoral und der tradierten Genderrollen in den Romanen ist Bella der sexuell aktive und dominante, traditionell männlich konnotierte Part in der Beziehung mit Edward – eine grosse Ausnahme bei den weiblichen Charakteren. Auch wenn Erotik vielen Werken immanent ist, wird sexuelles Verlangen dabei im Subtext häufig als störende, verstörende Kraft dargestellt, die die Welt der Jugendlichen auf meist unwillkommene Weise durcheinander bringt und ihnen latent psychische und physische Schmerzen zufügt. Indirekt unterstrichen wird dies durch die Existenz zahlreicher Szenen sexueller Gewalt: Nicht nur in den Vampirromanen gehören Vergewaltigungsmythen, sexuelle Übergriffe und Grenzüberschreitungen zum Alltag der Hauptfiguren. Erfüllte und gleichberechtigte Sexualität hingegen ist die grosse Ausnahme in der Mainstream-Jugendliteratur.