This paper explores a small community of Snape fans who have gone beyond a narrative retelling of the character as constrained by the work of Joanne Katherine Rowling.The ‘Snapewives’ or ‘Snapists’ are women who channel Snape, are engaged in romantic relationships with him, and see him as a vital guide for their daily lives.In this context, Snape is viewed as more than a mere fictional creation.Tags: Coursework.Stanford.EduResearch Paper On Phylogenetics Of ElephantsFinancial Projections For Business PlanParamedic EssayCalculus Solved ProblemsThe Marrow Of Tradition EssaysMaster Thesis Web DevelopmentExample For Business Plan
By policing extreme manifestations of the fandom, other eccentricities can be placed in the more neutral category of ‘ironic’ or ‘playful’, as opposed to ‘insane’.
This boundary policing is a virulent and under-researched manifestation of fandom communities.
Popular films are a mechanism for communal bonding, individual identity building, and often contain their own metaphysical discourses.
Here, I plan to outline the manner in which these elements resolve within extreme Snape fandom so as to propose a nuanced model for the analysis of fandom-inspired religion without the use of unwarranted veracity claims..
These methodologies demonstrate that religion and popular culture are not, by definition, separate worlds.
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Fandom experimentation and imagination can be a very real source of metaphysical belief and even transcendent experience.Her taxonomy delineates the category of ‘text as reality’, in which “the text is constructed as a reality in itself, not simply within the internal logics of the narrative, but owning some form of extra-textual ontological status” (, p. Under this schema, Snape exists as a being with thoughts and feelings independent of Rowling as author.Of additional consideration will be the veracity of any given religion, including the scriptures of Christianity—used by the Snapists as an example of another possible system of beliefs with equal validity to theirs.This question lends itself to Carole Cusack’s (2010) in which she concludes that fictive faiths are an inevitable part of a society where identity is garnered from the consumption of products .Markus Davidsen’s definition of ‘fiction-based’ religions, as distinct from fandom itself, will also be explored in order to discuss this milieu.When considered together, these elements of Snapeism reveal how online, popular culture-based religions are forming and the strong notions of what is ‘properly religious’, which abound both in fandom more broadly and within the Snapist community itself.Fandom sub-communities like the Snapists are a good case study for the problems of interpretation when facing a faith that seems to be objectively untrue in terms of its historicity and logic, and based on metaphysical beliefs that are impossible or absurd.fandom and its surprisingly substantial quota of ‘canon sceptics’.This fandom was at its most powerful during the release of the original books (1997–2007), and underwent resurgences as the movies slowly caught up with their source material (2001–2011).has inspired a monumental fandom community with a veracious output of fanfiction and general musings on the text and the vivid universe contained therein.A significant portion of these texts deal with Professor Severus Snape, the stern Potions Master with ambiguous ethics and loyalties.