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pt. 1. Introducing participatory cultures -- pt. 2. Understanding participatory fan cultures -- pt. 3. Leveraging participatory creativity -- pt. 4. Building cultures of knowledge -- pt. 5. Fostering participatory civic cultures -- pt. 6. Encouraging participatory activism -- pt. 7. Rethinking education in the age of participatory culture -- pt. 8. Challenging the boundaries of participatory culture.

AbstractThere is an explosion of youth subscriptions to original content‐media‐sharing Web sites such as YouTube. These Web sites combine media production and distribution with social networking features, making them an ideal place to create, connect, collaborate, and circulate. By encouraging youth to become media creators and social networkers, new media platforms such as YouTube offer a participatory culture in which youth can develop, interact, and learn. As youth development researchers, we must be cognizant of this context and critically examine what this platform offers that might be unique to (or redundant of) typical adolescent experiences in other developmental contexts.

Amit Paul's participation in Indian Idol 3 created chances for interaction across long-standing ethnic, religious, spatial, and linguistic barriers in Meghalaya.

Amit Paul's participation in Indian Idol 3 created chances for interaction across long-standing ethnic, religious, spatial, and linguistic barriers in Meghalaya.

Online, fans of popular culture media partake in participatory culture in various ways, such as writing fan fiction and scrutinizing media on message boards. Another way they do so is by editing relevant articles in the online encyclopedia Wikipedia. In fact, research has shown that Wikipedia articles skew heavily toward pop culture, suggesting that fans of pop culture are among the most enthusiastic of Wikipedia's editors. Of course, the question emerges: Why are pop culture fans in particular so interested in editing Wikipedia? Building on previous research, I argue that fans want to take part in the production of the media that they enjoy, that Wikipedia allows editors to create their own paratext (i.e., the Wikipedia article) in relation to a main text (e.g., a movie, a television show, a book series), and that this paratext may be heavily used by the general public. Such usage is a form of implicit approval that affirms the editors' knowledge and encourages them to make more edits. Thus, Wikipedia validates the fan editor's work in a way that other outlets for participatory culture (e.g., fan fiction, fan art, songwriting) cannot.

1. "Get a life!" : fans, poachers, nomads -- 2. How texts become real -- 3. Fan critics -- 4. "It's not a fairy tale anymore" : gender, genre, Beauty and the Beast -- 5. Scribbling in the margins : fan readers/fan writers -- 6. "Welcome to bisexuality, Captain Kirk" : slash and the fan-writing community -- 7. "Layers of meaning" : fan music video and the poetics of poaching -- 8. "Strangers no more, we sing" : filk music, folk culture, and the fan community.

Henry Jenkins at Authors@Google (video)Henry Jenkins"s pioneering work in the early 1990s promoted the idea that fans are among the most active, creative, critically engaged, and socially connected consumers of popular culture and that they represent the vanguard of a new relationship with mass media. Though marginal and largely invisible to the general public at the time, today, media producers and advertisers, not to mention researchers and fans, take for granted the idea that the success of a media franchise depends on fan investments and participation.Bringing together the highlights of a decade and a half of groundbreaking research into the cultural life of media consumers, Fans, Bloggers, and Gamers takes readers from Jenkins's progressive early work defending fan culture against those who would marginalize or stigmatize it, through to his more recent work, combating moral panic and defending Goths and gamers in the wake of the Columbine shootings. Starting with an interview on the current state of fan studies, this volume maps the core theoretical and methodological issues in Fan Studies. It goes on to chart the growth of participatory culture on the web, take up blogging as perhaps the most powerful illustration of how consumer participation impacts mainstream media, and debate the public policy implications surrounding participation and intellectual property

Through a comparison of the free online Flash game updated for PlayStation 3 to World of Warcraft, I investigate participatory culture in the game community. The question of why people pursue activities that offer no monetary or similar reward is answered in part by analyzing fan-produced game modifications or mods.