Xena studies

[s31j]

Hi there. My name is Star Juarez (Estrella, in Spanish actually) and I'm a doctoral candidate at ASU in Tempe, AZ. I am conducting my research on the life histories of Xena fans. I was wondering if I could interest anyone in talking to me about the show and what it meant to them. I am still a huge fan of the show and am fortunate enough to have a committee that supports my research interests. To this day, there are only four dissertations and one master's thesis that exist on Xena. I am also interested in discussing the subtext and how this subtext may have fostered solidarity and self-empowerment among fans (especially in the Xenaverse). If you are interested in helping me out and do not wish to post here, you could e-mail me at: [e-mail]. Any stories shared will be kept anonymous and will only be used in this study if you give me permission to do so. Thank you for your time. I hope to hear from you soon.

[Mini Mia]

:wtw1:
:wtw2: s31j!!! :wtw3:

[s31j]

Hey there! Thanks for the fireworks.

I've been hanging out on the Xena Online Community and Talking Xena that I almost forgot about Whoosh. I'm so sorry. Here's some more info on my study. I can also e-mail anyone wishing to participate my letter of consent and recruitment letter. This info is also posted on MaryD's website.

The purpose of my study is to analyze the media content and representations of gays/lesbians on the television program Xena: Warrior Princess (Tapert, 1995) and to explore its use of gay/lesbian subtext as an example of a non-normalized queered televised curriculum. The use of the word “subtext” in this study will refer to the verbal and non-verbal cues the characters of the show relayed to its audience members. My main research questions are: (1) How did the use of gay/lesbian subtext in the television program Xena: Warrior Princess (Tapert, 1995) aide Xena fans in viewing a non-normalized depiction of the gay/lesbian/bi-sexual/transgendered/queer/intersexed (GLBTQI) community? [In other words, was the use of subtext able to subvert the stereotyping of lesbians?] (2) How was this community of discourse received? And, in what ways? [How did Xena fans react to the subtext?] (3) How did the public political pedagogy influence the social construction of the show? In what ways was a community of discourse recognized? [What was going on politically at that time they may have influenced the “need” for the subtext? How were the voices of Xena fans recognized?] (4) Furthermore, where is there evidence of a formation of solidarity and personal empowerment amongst Xena fans as a result of it having been aired? [How were the lives of Xena fans affected by the show, and in particular, the death of the heroine?]
In the process of addressing these questions, I will be looking at the net narratives of Xena fans on the Internet pertaining to the gay/lesbian subtext of the show, and supplementing these net narratives with stories generated from Xena artifacts, personal interviews, and focus group discussions with Xena fans. In attempting to define the methodology of my qualitative study of the pedagogical implications of the gay/lesbian subtext of Xena: Warrior Princess (Tapert, 1995) on Xena fans, the most fitting description of my role as a qualitative researcher would be that of a weaver of tapestries. The three conceptual tools I will use to analyze my data will be: narrative analysis, discourse analysis, and metaphor analysis.
I am looking for Xena fans to share their stories with me. What impact did Xena make on you? Do you still mourn her death? Why? Why not?

Star