<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852017000400856</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2017.20.4.2</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[From Fan Culture/Community to the Fan World: Possible Pathways and Ways of Having Done Fandom]]></article-title>
<article-title xml:lang="es"><![CDATA[De la cultura/comunidad del fan al mundo del fan: posibles vías y maneras de hacer Fandom]]></article-title>
<article-title xml:lang="pt"><![CDATA[Da cultura/comunidade do fã ao mundo do fã: possíveis vias e maneiras de fazer fandom]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Hills]]></surname>
<given-names><![CDATA[Matt]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,University of Huddersfield  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>England</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>10</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>10</month>
<year>2017</year>
</pub-date>
<volume>20</volume>
<numero>4</numero>
<fpage>856</fpage>
<lpage>883</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852017000400856&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852017000400856&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852017000400856&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In this article I revisit the concepts of fan culture and community, which have been central to fan studies. Critiques of subcultural theory, along with fandom&#8217;s fragmentation into &#8220;traditional&#8221; fans and &#8220;brand fans,&#8221; have suggested that media fandom cannot be viewed as a coherent culture or community. Consequently, I consider how a concept of fan world addresses some of these emergent critiques of fan culture/community, setting out what a world theory can offer current debates surrounding fandom. I draw particularly on Howard Becker&#8217;s (2008) approach to art worlds and Steven Connor&#8217;s (2010) overview of world concepts. This allows me to elaborate on a model of the fan world, moving away from a position where world theories have usually been adopted in relation to franchises&#8217; world building to think about the platforms and pathways through which fandom is performed today. Ways of &#8220;having done fandom&#8221; are chosen, more or less reflexively, by fans from an array of communal and individualized possibilities. And &#8220;paths not taken&#8221; become counterfactual as fans follow certain branches of fan activity but not others, developing specific forms of fan specialization and positioning rather than others. The fan world represents this open necessity of having to choose particular fan pathways within the contemporary &#8220;participatory condition,&#8221; itself being comprised of all possible versions and branches of fan identity.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En este artículo retomo los conceptos de la cultura y la comunidad del fan, que han sido centrales para los estudios de los fans. Las críticas de la teoría subcultural, junto con la fragmentación del fandom en fans &#8220;tradicionales&#8221; y &#8220;de marca&#8221;, han sugerido que el fandom de los medios no puede ser visto como una cultura o comunidad coherente. En consecuencia, considero cómo un concepto del mundo de los fans aborda algunas de estas críticas emergentes de la cultura/comunidad de los fans, exponiendo lo que una teoría mundial puede ofrecer a los debates actuales sobre el fandom. Me interesa particularmente el enfoque de Howard Becker sobre los mundos del arte y la visión general de Steven Connor sobre los conceptos de mundo. Esto me permite elaborar un modelo del mundo de los fans, alejándome de una posición en la que las teorías del mundo se han adoptado generalmente en relación con la construcción del mundo de las franquicias para pensar en las plataformas y vías a través de las cuales se practica el fandom actualmente. Las formas de &#8220;hacer fandom&#8221; son elegidas, más o menos reflexivamente, por los fans a partir de una serie de posibilidades comunes e individualizadas. Y las &#8220;vías que no se toman&#8221; se vuelven contrafácticas, ya que los fans siguen ciertas ramas de la actividad de los fans en vez de otras, desarrollando formas específicas de especialización y posicionamiento de los fans en lugar de otras. El mundo de los fans representa esta necesidad abierta de tener que elegir vías específicas del fan dentro de la &#8220;condición participativa&#8221; contemporánea, que se compone de todas las posibles versiones y ramas de la identidad del fan.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Neste artigo volto aos conceitos da cultura e da comunidade do fã, que têm sido foco para os estudos dos fãs. As críticas da teoria sub-cultural, junto com a fragmentação do fandom em fãs &#8220;tradicionais&#8221; e &#8220;de marca&#8221;, tem sugerido que o fandom da mídia não pode ser visto como uma cultura ou comunidade coerente. Em consequência, considero como um conceito do mundo dos fãs aborda algumas destas críticas emergentes da cultura/comunidade dos fãs, expondo o que uma teoria mundial pode oferecer aos debates atuais sobre o fandom. Interessa-me particularmente o foco de Howard Becker sobre os mundos da arte e a visão geral de Steven Connor sobre os conceitos de mundo. Isto me permite elaborar um modelo do mundo dos fãs, afastando-me de uma posição na qual as teorias do mundo foram adoptadas geralmente com relação à construção do mundo das franquias para pensar nas plataformas e vias através das quais se pratica o fandom atualmente. As formas de &#8220;fazer fandom&#8221; são eleitas, mais ou menos reflexivamente, pelos fãs de uma série de possibilidades comuns e individualizadas. E as &#8220;vias que não se tomam&#8221; tornam-se contra fáticas já que os fãs seguem certos ramos de atividade, e não outros, desenvolvendo formas específicas de especialização e posicionamento dos fãs em vez de outras. O mundo dos fãs representa esta necessidade aberta de ter que escolher vias específicas do fã dentro da &#8220;condição participativa&#8221; contemporânea, que se compõe de todas as possíveis versões e ramos da identidade do fã.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Fan culture]]></kwd>
<kwd lng="en"><![CDATA[fan community]]></kwd>
<kwd lng="en"><![CDATA[subculture]]></kwd>
<kwd lng="en"><![CDATA[world]]></kwd>
<kwd lng="en"><![CDATA[Howard Becker]]></kwd>
<kwd lng="es"><![CDATA[Cultura del fan]]></kwd>
<kwd lng="es"><![CDATA[comunidad del fan]]></kwd>
<kwd lng="es"><![CDATA[subcultura]]></kwd>
<kwd lng="es"><![CDATA[mundo]]></kwd>
<kwd lng="es"><![CDATA[Howard Becker]]></kwd>
<kwd lng="pt"><![CDATA[Cultura do fã]]></kwd>
<kwd lng="pt"><![CDATA[comunidade do fã]]></kwd>
<kwd lng="pt"><![CDATA[subcultura]]></kwd>
<kwd lng="pt"><![CDATA[mundo]]></kwd>
<kwd lng="pt"><![CDATA[Howard Becker]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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