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148:, as well as papers that she found Orton's sister had been keeping at home in a cardboard box. Coppa says that Orton's writings have "challenged and delighted me", citing "the perfection of his word choice, his almost-tangible glee at his own inventiveness, the dead-on rightness of his social anger, his confident assertion of sexual desire." She highlights the rapid pace of social change during his brief career, and states that the "many contradictions" of a man who was "young, working-class, intellectual, homosexual, and 'macho' all at the same time" render Orton "an almost irresistible symbol."
330:, positing that fan fiction writers respond to "dramatic, not literary, modes of storytelling" and so should be assessed by "performative rather than literary criteria"; she developed the theory to address common criticisms of fan fiction, including its focus on the physical, its repetitious and relatively ephemeral nature, and its requirement for an audience. In 2014, she wrote a response to Jonathan Gray, Cornel Sandvoss and C. Lee Harrington's 2007 dismissive description of first-wave
251:, and concluding that the works are more informative about their own times than that of Wilde. The reviewer Timothy Peltason agrees with her conclusions but points out that Coppa also considers the works from a "somewhat limiting" current perspective, holding the works to "un-Wildean standards of accuracy and fairness in representation". Her other publications on Wilde include an introduction to
312:– which she defines as "a visual essay" that intends "to make an argument or tell a story" and uses the accompanying music track as "an interpretive lens to help the viewer to see the source text differently" – and has published on vidding as a women's practice, distinct from other forms of fan-created videos. In 2012, she co-edited a special issue of the journal
373:", with the chapter titles referencing this work. The authors include Astolat, KaydeeFalls, Rheanna, Speranza and Yahtzee, and the stories range in date between 1998 and 2017. Coppa provides a general overview of fan fiction, including five different definitions, together with brief introductions to each fandom, which include
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as accessible and a "good first encounter with the genus", and
Dubuisson generally agrees but questions whether Coppa's background information will prove adequate to allow readers to understand stories based in multiple-season television series. The book won the Media and Cultural Studies category of
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points out that the many previous academic works on fan fiction did not include extended examples and "a printed collection of the stuff, from a university press, with no serial numbers removed" would probably not have been possible as recently as 2012 because of the threat of legal action,
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as "excellent" and
William Hutchings as "useful". Coppa recognizes the bisexual male character Bob Kennedy, who rescues and marries the novel's protagonist Susan, not only as a forerunner to later characters, but also as a model for Orton to reinvent himself as "the successful playwright as
413:, which treats real celebrities as if they were fictional characters. She also locates the stories within their context, emphasizing the communal and collaborative nature of fannish writing, and includes multiple "meta" stories, which comment on fan writing itself. Burt, in a review for
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in 2017 and intended as a college-level teaching text. Describing her motivations for creating the collection, Coppa states: "I want people to see that fanfiction is legal – a transformative fair use that can be published and sold in certain contexts – and also that it's an
215:. The second section includes essays focusing on Orton's sexuality, his diaries, and the context in which he wrote, and includes a contribution by Orton and Halliwell's biographer, Simon Shepherd. Coppa wrote the final essay on a 1995 conversation between the actor
419:, describes most of the stories in the collection as "thoughtful, and delightful", but notes that fan fiction encountered in such a book is divorced from the actual experience of finding and reading fan fiction. Lorraine M. Dubuisson, in a review for
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assembles short, non-adult-rated stories covering a range of fan fiction genres, based in widely known
American or British sources, which Burt describes as Coppa's idea of "good on-ramps to the phenomenon". Coppa organizes the anthology as a "modern
229:, describes the collection as an "excellent scholarly resource" with "diverse and interesting" content, but considers that Coppa has not gone far enough towards broadening Orton scholarship, which has focused on a limited selection of his works.
185:(2003), a collection of twelve essays, split into those that address Orton's works as literature and those that attempt to place them in the context of his life. The first section contains essays examining the plays
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as "the first anthology of fan fiction for use in the classroom", and praises Coppa and
University of Michigan Press for their "courage" in tackling what he refers to as "taboos" relating to publishing fan fiction.
304:(OTW), a nonprofit body that aims "to provide access to and preserve the history of fanworks and fan cultures"; she served on the board until 2012, and remains an emeritus director. The fandom expert
100:(1993). Her PhD (1997), also from New York University, was supervised by Una Chaudhuri; her thesis is entitled "Blood and aphorism: Joe Orton, theatre, and the new aristocracy in Great Britain".
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Stevens describes Coppa as "a key figure in this second wave of writing on vids" (p. 30). E. Charlotte
Stevens. "Critical Contexts: Television Studies, Fandom Studies, and the Vid", in
263:, in which she states that in her experience, Wilde needs to be taught as "melodramatist, modernist, and postmodernist all at once". She has also published on the early plays of
423:, recommends the collection for teaching purposes, but highlights the relatively limited focus, which excludes non-western sources and sexually explicit works. Burt describes
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entitled "Fan/Remix Video", with Julie Levin Russo. Her highest-cited research paper is on the history of
American media fandom, which seeks to differentiate it from general
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Orton has frequently been likened to Wilde, and Coppa has also published on the latter. In 2010, she surveyed representations of Wilde in twentieth-century plays, including
48:; she edited several of his early novels and plays for their first publication in 1998–99, more than thirty years after his murder, and compiled an essay collection,
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highlights her work on challenging intellectual property rights as applied to fanworks. She is particularly known for her work documenting the history of the
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as performance, and in 2017, published the first collection of fan fiction designed for teaching purposes. As of 2021, Coppa is a professor of
English at
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Megan Lynn Isaac (2018). "A Character of One's Own: The Perils of Female
Authorship in the Young Adult Novel from Alcott to Birdsall",
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111:, where she was previously the director of film studies. Her current research interests include British drama, sexuality theory, and
1449:"Fan/Remix Video," special issue of TWC guest edited by Francesca Coppa, Muhlenberg College, and Julie Levin Russo, Brown University
165:, a parody in diary format written in 1957, and contributed a thirty-page introduction covering his life and career, described by
140:, a British playwright and novelist who came to prominence in 1963 and whose career was cut short by his murder by his lover,
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161:(1961) – for first publication in 1998. In the same year, she edited for first publication his earliest solo novel,
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280:(2008), with Lawrence Hass and James Peck, a collection that includes both practical magicians and researchers on
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swaggering hooligan, ex-convict, working-class tough in a leather jacket". She also edited and introduced
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Nyusztay, Iván (2015). "Infinite
Responsibility and the Third in Emmanuel Levinas and Harold Pinter".
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257:(2015), a "clearly written" chapter on performance theory, and an "insightful" article on teaching
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Martin B. Lockerd (2018). "Decadent
Arcadias, Wild(e) Conversions, and Queer Celibacies in
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Francesca Coppa. "Writing bodies in space: Media fanfiction as theatrical performance", in
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36:(born March 26, 1970) is an American scholar whose research has encompassed British drama,
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Many of Orton's early works had never been published, and Coppa edited two of his plays –
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As of 2021, she is a professor of English and director of women's and gender studies at
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Suzanne Scott. "A fangirl's place is in the resistance: Feminism and fan studies", in
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Bringing Fan Fiction into the Classroom: An Interview with Francesca Coppa (Part One)
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Wally Smith (2015). "Technologies of stage magic: Simulation and dissimulation",
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Performing Magic on the Western Stage: From the Eighteenth Century to the Present
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Performing Magic on the Western Stage: From the Eighteenth Century to the Present
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Blood and aphorism: Joe Orton, theatre, and the new aristocracy in Great Britain
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Framing Fan Fiction: Literary and Social Practices in Fan Fiction Communities
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as the "Fandom Is Beautiful" era, entitled "Fuck Yeah, Fandom Is Beautiful".
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Retired Personnel (November 10, 2019), "Ten Years of AO3: Francesca Coppa",
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Christopher Pittard. "Conjuring Dickens: Magic, Intellectual Property, and
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Fan Fiction and Fan Communities in the Age of the Internet: New Essays
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Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry
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Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry
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Anya Clayworth (2005). "Nineteenth-century sensations and advances",
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Sherlock's World: Fan Fiction and the Reimagining of BBC's Sherlock
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Show Sold Separately: Promos, Spoilers, and Other Media Paratexts
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attributing the change at least in part to the advocacy of OTW.
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Confessions of an Aca-fan: The Official Weblog of Henry Jenkins
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Remixing Television: Francesca Coppa on the vidding underground
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Women, Star Trek, and the early development of fannish vidding
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Fan Fiction and Fan Communities in the Age of the Internet
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Coppa dates her earliest scholarly work on Orton to 1987.
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Francesca Coppa. "A brief history of media fandom", in
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Oscar Wilde and Modern Culture: The Making of a Legend
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The Fanfiction Reader: Folk Tales for the Digital Age
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The fanfiction reader: Folk tales for the digital age
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The Fanfiction Reader: Folk Tales for the Digital Age
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The Fanfiction Reader: Folk Tales for the Digital Age
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The boy hairdresser: and, Lord Cucumber: two novels
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497:Francesca Coppa, Lawrence Haas, James Peck, eds.
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1133:Approaches to Teaching the Works of Oscar Wilde
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219:and Orton's sister, who represents his estate.
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1878:Columbia College (New York) alumni
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52:(2003). She has also published on
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1721:Transformative Works and Cultures
1471:Alicia Verlager (2009). "Review:
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835:(2008). "Orton in the Archives",
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421:Transformative Works and Cultures
315:Transformative Works and Cultures
233:Other literature, theatre studies
862:Stephen Grecco (1999). "Review:
711:in a search on February 2, 2021.
1714:Lorraine M. Dubuisson (2018). "
1091:The Importance of Being Earnest
808:Francesa Coppa (May 22, 2017).
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254:The Importance of Being Earnest
136:Coppa is known for her work on
1637:, pp. 47–48 (NYU Press; 2019)
1131:Colin Carman (2010). "Review:
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203:, as well as comparisons with
16:American scholar of literature
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1840:Profile at Muhlenberg College
1744:"Support the OTW by Reading!"
1064:, edited by Joseph Bristow",
244:The Importance of Being Oscar
194:The Good and Faithful Servant
27:Berkeley Center for New Media
1898:American mass media scholars
1826:(retrieved February 2, 2021)
1768:University of Michigan Press
1750:(retrieved February 3, 2021)
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917:", in Francesca Coppa, ed.,
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1221:MFS Modern Fiction Studies
745:(August/September 2008). "
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1135:by Philip E. Smith, II",
1079:10.2979/vic.2010.52.2.339
604:Francesca Coppa (2008). "
432:'s Prose Awards in 2018.
88:. She gained her BA from
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1793:University of Iowa Press
1544:University of Iowa Press
1277:Cornell University Press
838:History Workshop Journal
668:University of Iowa Press
579:(Francesca Coppa, ed.) (
554:(Francesca Coppa, ed.) (
1845:April 19, 2021, at the
1718:, by Francesca Coppa",
1360:(September 14, 2017). "
1183:Literature and Theology
775:April 19, 2021, at the
267:and queer sexuality in
188:Entertaining Mr. Sloane
109:Allentown, Pennsylvania
60:and, in particular, of
1269:The Old Curiosity Shop
981:World Literature Today
959:London Review of Books
869:World Literature Today
320:science fiction fandom
155:(written in 1959) and
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1137:Rocky Mountain Review
1097:Bloomsbury Publishing
1035:by Francesca Coppa",
1033:Joe Orton: A Casebook
919:Joe Orton: A Casebook
521:Joe Orton: A Casebook
519:Francesca Coppa, ed.
475:Francesca Coppa, ed.
436:Selected publications
425:The Fanfiction Reader
364:The Fanfiction Reader
352:The Fanfiction Reader
350:." Jenkins describes
260:Lady Windermere's Fan
183:Joe Orton: A Casebook
127:Research and writings
50:Joe Orton: A Casebook
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1681:(August 23, 2017). "
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1217:Brideshead Revisited
686:References and notes
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270:Brideshead Revisited
239:Micheál Mac Liammóir
731:Library of Congress
411:real-person fiction
249:Lord Alfred Douglas
176:The Boy Hairdresser
98:New York University
94:Columbia University
38:performance studies
1787:Ann K. McClellan.
913:Francesca Coppa. "
781:Muhlenberg College
503:Palgrave Macmillan
448:Vidding: A History
328:performance theory
223:, in a review for
200:The Erpingham Camp
105:Muhlenberg College
74:Muhlenberg College
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1093:: Revised Edition
1067:Victorian Studies
1031:(2004). "Review:
900:Francesca Coppa.
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1854:(with blog)
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288:Fan studies
282:stage magic
213:Jane Austen
205:Oscar Wilde
181:She edited
121:fan studies
117:performance
70:fan fiction
54:Oscar Wilde
42:fan studies
1862:Categories
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221:Tom Smith
211:and even
138:Joe Orton
132:Joe Orton
80:Biography
46:Joe Orton
1843:Archived
1795:; 2018)
1760:Contents
1609:; 2010)
1546:; 2017)
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1424:; 2019)
1388:; 2020)
1279:; 2019)
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