![]() ![]() If you do not have a society account or have forgotten your username or password, please contact your society. ![]() Do not use an Oxford Academic personal account. When on the society site, please use the credentials provided by that society.If you see ‘Sign in through society site’ in the sign in pane within a journal: Many societies offer single sign-on between the society website and Oxford Academic. Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic.When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. ![]() If you are a member of an institution with an active account, you may be able to access content in one of the following ways: ![]() Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Indeed, the birth of these “legitimate” authors from online spaces is a physical manifestation of Donna Haraway’s cyborg identity moving from a space it requires to exist initially, because of gendered pressures in the “real world,” to actualization. The fluidity of the respondents’ thinking around authorship is reminiscent of the opportunities offered by the liminal space of the Internet that nurtured their careers. Although some of the authors who contributed to this study still define authorship as something other than fanfiction, the competing discursive tension in their responses to questions about authorial legitimacy indicates that although the idea of the author may be bound by extant ideology, the author herself is hardly fixed. We find that cybercultural fandom provides important benefits for women writers. In this article, we move beyond whether or not fanfiction should be circulated in a gift economy or published for profit to examine, through interviews with authors who have “pulled to publish,” the continuum between fandom and traditional publishing. The publication of the 50 Shades of Grey series (2011–12), and licensed fanfiction on ’s Kindle Worlds, however, makes the question of fanfiction publishing largely irrelevant: the monetization of fanfiction is here, regardless of the naysayers. The debate about the monetization of fanfiction and what that might mean for fan writers and systems of publication has been carried out in the blogosphere and among scholars. ![]()
0 Comments
Leave a Reply. |