Text poaching is whereby fans reproduce content by taking text and utilize it in the creation of something new. Text poaching is also characterized with the ability to change personal reaction into a tool of social interaction, passive audience into active audience, and also forms the basis for fandom. Fans have also been likened to cultural scavengers whereby they take works that other people may regard as worthless, and turn them into a reward source of cultural capital. According to Jenkins, text poaching is as a result of fans embracing the text that they favor and try to integrate them in their social experience. This was seen in children’s backyard plays, adult interaction games, and creation of elaborate costumes, computer programming, and private fantasies. In his essay “Star Trek Return, Reread, Rewritten: Fan Writing as Textual Poaching”, Jenkins (1988) argues that the popularity of Star Trek is what motivated different creative rewriting of the program and cultural production. Text Poaching As Resistance and Poaching As Actualization This essay is going to examine text poaching as resistance and poaching as actualization and take a position on the continuum created by these two concepts. These active readers actively participate in the production of content using inspiration from the texts that they enjoy (Jenkins, 2013). Before the advent of digital technologies, fans basically consumed text, but the modern digital technology has enabled the replacement of passive fans with active fans that Jenkins has called active readers. Jenkins defines textual poaching as “an impertinent raid on the literary preserve where fans take away only those things that are useful or pleasurable” (Jenkins, 2013, p. Textual poaching is a term that was first used by Michel de Certeau in 1984, and was developed later by Henry Jenkins in his book “Textual Poachers: Television Fans and Participatory Culture” written in 1992.
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