Abstract
Due to the interactive affordances of twenty-first century technologies, the relationship between readers and texts is often repositioned as part of a communal experience of consumption and reproduction. Inclusive in this expanding culture are user-generated adaptations of Shakespeare, most saliently fanfic. The fanfic universe prolifically crosses genres, putting the Shakespearean +urtext= in conversation with any other object of cultural interest, and occasionally subjugates the Shakespearean text to the dominant popular icon of the moment. Fanfic manifests textual enjoyment as a creative act; the genre is both recreational and +re-creational=, resulting in new adaptive works that expand the dramas to include sequels, prequels, and off-stage explorations of character and plot. Because Shakespeare is experienced variously through printed text, television, film, theatrical, or digitized performance - all of which underline the instability of an authoritative Shakespeare text - Shakesp