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PUBLIC PERSONAS, PRIVATE SELVES, AND THE TRANSGRESSION OF AUTHENTICITY - RPF相关研究","","The paper examines how K-pop fan communities negotiate authenticity through multiple names, focusing on “stage name” versus “real” name practices. It analyzes two celebrity-text constructions: one shaped by reality television and one shaped by fan fiction, arguing both enact a performative crossing between public personas and private selves. 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It often emerges around consent, ownership, and how audiences interpret real identities.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"How does the paper connect stage-name and “real-name” practices to authenticity?",{"text":118,"@type":114},"The paper argues that using both stage names and real names enables fandoms to search for different kinds of celebrity texts. This dual naming supports a performative negotiation of authenticity rather than a fixed identity.",{"name":120,"@type":111,"acceptedAnswer":121},"Why does the paper discuss relationship tags and archives in RPF?",{"text":122,"@type":114},"Relationship tags function as an intentional fictional device that helps creators optimize works for the archive’s search engine. 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PUBLIC PERSONAS, PRIVATE SELVES, AND THE TRANSGRESSION OF AUTHENTICITY |\n| --- |\n| Sooyun (Clara) Hong McGill University\u003Cbr>7KH . 􀀐SRS VWDU RIWHQ JRHV E\\ WZR QDPHV􀀝 WKH VWDJH QDPH DQG ³UHDO´ QDPH􀀑 2Q WKH $UFKLYH RI 2XU 2ZQ􀀏 D PDMRU IDQ ¿FWLRQ UHSRVLWRU\\􀀏 WKH WDJV DUH designed to facilitate searches for either name. Given that the common SUDFWLFH DPRQJ . 􀀐SRS IDQ ¿FWLRQ ZULWHUV LV WR XVH WKH ³UHDO´ QDPH􀀏 WKLV SDSHUDVNV KRZ D VSHFL¿F H[DPLQDWLRQ RI WKH VWDJH QDPH LQ WKH .􀀐SRS PHGLXP PLJKW UHGH¿QH WKH UHODWLRQVKLS EHWZHHQ WKH VWDJH QDPH DQG WKH UHDO name in celebrity discourse. To this end, this paper compares two different FRQVWUXFWLRQV RI WKH FHOHEULW\\ WH[W􀀝 RQH FRQVWUXFWHG E\\ WKH .􀀐SRS LQGXVWU\\ WKURXJK UHDOLW\\ WHOHYLVLRQ DQG RQH FRQVWUXFWHG E\\ IDQ ¿FWLRQ ZULWHUV UHÀHFWLQJ upon their own craft. This paper argues in favor of a connection between WKHVH FRQVWUXFWLRQV􀀝 QDPHO\\􀀏 WKDW WKH .􀀐SRS LQGXVWU\\ DQG .􀀐SRS IDQ ¿FWLRQ are both premised on the construction of a dichotomy between the public person and the private self that is performatively transgressed in order to generate an affect that cannot be evoked by either the public or the private alone. The paper concludes by suggesting that these transgressions point WRZDUG D QHZ PRGHO RIFHOHEULW\\ DV HPERGLHG E\\ WKH .􀀐SRS LGRO􀀝 QRW D VWDWLF ³ SHUVRQD´ EXW D G\\QDPLF QHJRWLDWLRQ EHWZHHQ WKH ³YHU\\􀀐PXFK􀀐SXEOLF´ DQGWKH ³QRW􀀐VR􀀐SXEOLF􀀑´\u003Cbr>What is “Real Person Fiction”(RPF)?\u003Cbr>Every year, Tumblr — a microblogging platform and social networking site that 0RULPRWR DQG 6WHLQ GH¿QH DV WKH ³ PDLQ ORFXV RI RQOLQH IDQGRP DFWLYLW\\´ 1—puts out D ³ Fandometrics” report, a compilation of the most popular topics discussed on the SODWIRUP WKDW \\HDU􀀑 ,Q 􀀕􀀓􀀔􀀘􀀏 WKLV UHSRUW GHFODUHG WKDW ³ /DUU\\ 6W\\OLQVRQ􀀏´ D SRUWPDQWHDX |\n\n1 /RUL 0RULPRWR DQG /RXLVD (OOHQ 6WHLQ􀀏 ³7XPEOU DQG )DQGRP􀀏´ Transformative Works and Cultures, no. 27, [http://dx.doi.org/10.3983/twc.2018.1580](http://dx.doi.org/10.3983/twc.2018.1580) .  \n68 YONSEI JOURNAL OF INTERNATIONAL STUDIES  \nRI WKH QDPHV RI 2QH 'LUHFWLRQ PHPEHUV +DUU\\ 6W\\OHV DQG /RXLV 7RPOLQVRQ􀀏 ZDV ³WKH QXPEHU RQH µVKLS¶ >UHODWLRQVKLS@ RQ WKH VLWH􀀑´2 Between 2016 and 2017, Fandometrics UHSRUWHG WKDW WKH DPRXQW RI IDQ ¿FWLRQ DERXW .􀀐SRS VWDUV RQ 7XPEOU KDG JRQH XS E\\ ten percent.3 ,Q 􀀕􀀓􀀔􀀛􀀏 ³-LNRRN´􀀏 a portmanteau of Jimin and Jungkook, members of the K-pop boy band BTS, ZDV RQH RI WKH WRS ¿YH PRVW SRSXODU VKLSV RQ 7XPEOU􀀑 4 Of the top 100 ships that year, seventeen were pairings between real-life people of which more than half were related to .􀀐SRS􀀑 $W WLPH RI ZULWLQJ􀀏 WKH ³.􀀐SRS´ WDJKDG 􀀕􀀚􀀖􀀏􀀛􀀖􀀓 ZRUNV RQ WKH $UFKLYH RI 2XU 2ZQ 􀀋$2􀀖􀀌􀀏 D ³ QRQFRPPHUFLDO DQG QRQ􀀐 SUR¿W FHQWUDO KRVWLQJ SODFH IRU IDQZRUNV´ DQG D PDMRU GHVWLQDWLRQ IRU SRVWLQJ DQGUHDGLQJ IDQ ¿FWLRQ􀀑 5 7KHVH DUH H[DPSOHV RI WKH SKHQRPHQRQ NQRZQ DV ³ UHDO SHUVRQ ¿FWLRQ􀀏´ D JHQUH RI IDQ ¿FWLRQ WKDW ZULWHV DERXW ³DFWXDO SHRSOH􀀏 UDWKHU WKDQ ¿FWLRQDO characters.”6 ,W KDV KLVWRULFDOO\\ EHHQ D FRQWURYHUVLDO SUDFWLFH HYHQ ZLWKLQ IDQ ¿FWLRQ FRPPXQLWLHV􀀑 -XVW WKLUWHHQ \\HDUV EHIRUH ³ /DUU\\ 6W\\OLQVRQ´ EHFDPH WKH PRVW SRSXODU ³VKLS´ RQ 7XPEOU􀀏 )DQ¿FWLRQ􀀑QHW EDQQHG DOO IDQ ZRUNV DERXW UHDO SHRSOH IURP LWV platform.7 In the 2013 interview that accompanied the twentieth anniversary edition of Textual Poachers, an ethnographic text on fans and fan practices, author Henry-HQNLQV FRPPHQWHG WKDW KH ³ZDV DVNHG QRW WR ZULWH DERXW UHDO SHUVRQ VODVK´8 by his subjects while he was working on the book. In her 2018 Medium article on RPF, 7RQ\\D 5LOH\\ ZURWH WKDW WKH JHQUH FRQWLQXHV WR UDLVH ³ PXUN\\ TXHVWLRQV RI FRQVHQW DQG ownership of public identity.”9 A 5HGGLW WKUHDG IURP WKH VDPH \\HDU􀀏 WLWOHG ³ 53)¶V 􀀋5HDO 3HUVRQ )LFV􀀌􀀝 +RZ 'R \u003CRX 5HDOO\\ )HHO\"´􀀏 JLYHV VRPH H[DPSOHV RI WKH FRPPRQTXHVWLRQV UDLVHG DERXW WKH LVVXH􀀝 ,V LW MXVW FUHHS\\\" ,V LW DQ LQYDVLRQ RI SULYDF\\\" ,V LW VRPHWKLQJ \\RX ZRXOG ZDQW VRPHRQH WR GR DERXW \\RX 􀀋DQG GRHV WKDW PDWWHU􀀌\" ,V 53) GLIIHUHQW IURP VLPSO\\ IDQWDVL]LQJ DERXW FHOHEULWLHV LQ SULYDWH\" :KDW LI WK","cbCaieYhGAb5QBlu","https://ap.wps.com/l/cbCaieYhGAb5QBlu","pdf",220356,14,"English","# Real Person Fiction (RPF) in fandom\n## Stage names, real names, and search visibility\n## Public persona vs. private self through fan texts\n## Tagging practices and platform archives","[{\"question\":\"What is “Real Person Fiction” (RPF) in the paper?\",\"answer\":\"RPF is a genre of fan fiction that uses actual people rather than purely fictional characters. It often emerges around consent, ownership, and how audiences interpret real identities.\"},{\"question\":\"How does the paper connect stage-name and “real-name” practices to authenticity?\",\"answer\":\"The paper argues that using both stage names and real names enables fandoms to search for different kinds of celebrity texts. This dual naming supports a performative negotiation of authenticity rather than a fixed identity.\"},{\"question\":\"Why does the paper discuss relationship tags and archives in RPF?\",\"answer\":\"Relationship tags function as an intentional fictional device that helps creators optimize works for the archive’s search engine. The paper uses this to show how fandom structuring affects reading, discovery, and engagement.\"}]","WHAT’S INA (STAGE) NAME? PUBLIC PERSONAS, PRIVATE SELVES, AND THE TRANSGRESSION OF AUTHENTICITY - RPF相关研究 | PDF",35]