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As formas de consumo cultural se desdobraram de diversas maneiras. Na atualidade, elas se diversificaram imensamente, tornando um desafio compreender, n?o apenas suas configura??es e meios, em que v?rias m?dias convergem, mas, principalmente, sua influ?ncia na cultura e nos modos de produ??o atual. Estabelecida nas ?ltimas d?cadas, a cultura de f? ? umas das formas contempor?neas de consumo. Ela re?ne pessoas interessadas no mesmo produto cultural, possibilitando-as compartilhar suas impress?es, teorias, expectativas e frustra??es, em encontros peri?dicos e em sites e redes sociais online. Essa forma de consumo tem relativizado uma s?rie de quest?es acerca do mercado cultural, a partir do momento em que esses indiv?duos passam a produzir seus pr?prios produtos, baseados nas obras matrizes das quais s?o f?s, desconstruindo e reelaborando as rela??es unilaterais de produ??o cultural existentes at? o momento. Dentre essas produ??es est?o as fanfictions. Estas s?o pr?ticas de escrita criativas, imersas em um universo ficcional pr?-existente, nas quais seus autores realizam interven??es de ordem diversa, preenchendo lacunas, invertendo acontecimentos ou criando novos, podendo ocorrer acr?scimos e subtra??es nesse universo. Esta pesquisa objetivou analisar as rela??es dial?gicas presentes nesse g?nero discursivo e, em particular, os movimentos de carnavaliza??o na fanfiction Un, Deux, Trois, escrita por MB Writer. Para a investiga??o, tomou-se como fundamento as concep??es acerca da cultura de converg?ncia, cultura participativa e cultura de f? (JENKINS, 2009) e, como pressuposto te?rico-metodol?gico, a concep??o dial?gica de linguagem em conson?ncia com as concep??es de enunciado concreto, de rela??es dial?gicas e de carnavaliza??o advindas do C?rculo de Bakhtin (2009, 2010, 2011, 2015). A partir da an?lise, concluiu-se que o g?nero discursivo fanfiction remete ? cosmovis?o carnavalesca de mundo, por apresentar a linguagem de contato livre e familiar, por retomar as ousadias do carnaval popular, por tematizar tabus, confrontando-os e desconstruindo, ambivalentemente, questionando a estabilidade e a ordem social vigente. Por esta raz?o, ela se op?e ?s formas de produ??o escrita hegem?nicas, enquanto for?a cultural centr?peta que ignora as hierarquias oficiais impostas, apontando para um futuro de produ??o cultural fluido e aberto, povoado pelas utopias carnavalescas.
The forms of cultural consumption unfold in various ways. Currently, these forms have diversified immensely, making it a challenge to understand, not only the settings and ways in which various media converge, but mainly how it influences the culture and current production methods. Established in recent decades, fan culture is one of many contemporary forms of consumption. It united people interested in the same cultural products, allowing them to share their impressions, theories, expectations and frustrations, in regular meetings or on websites and social networks online. This type of consumption has raised a series of questions about the cultural market, from the moment these individuals begin to produce their own products based on the original narratives, of which they are fans, deconstructing and reworking the prevailing unilateral relationships of cultural production. Among these productions are the fanfiction. They are creative writing practices, immersed in a pre-existing universe fictional, in which their authors perform interventions of various kinds, filling gaps, inverting events or creating new ones, permiting additions and subtractions in this universe. This research aimed to analyze the dialogical relationships present in this discursive genre and in particular the movements of carnivalization in fanfiction Un, Deux, Trois, written by MB Writer. This investigation relies on the conceptions from the theory of convergence culture, participatory culture and fan culture (JENKINS, 2009), and the theoretical premise of the dialogical concept of language in accordance with the concepts of concrete utterance, dialogical relationships and carnivalization found in the Bakhtin Circle (2009, 2010, 2011, 2015). From the analysis, it was conclud that discursive genre fanfiction refers to carnivalization view of the world, to present free and familiar contact language, resume boldness? popular carnival, by foregrounding taboos, confronting them and deconstructing, ambivalently, questioning the stability and present social order. For this reason, it is opposed to forms of written production hegemonic while centripetal cultural force that ignores imposed official hierarchies, pointing to a future of cultural production fluid and open, populated by carnivals utopias.
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