# data[].attributes.body
This is a simple and realistic story. A girl who loves Lolita skirts received an invitation from a friend to play. When she was about to put on a beautiful skirt, she remembered her mother's words that she didn't want her to buy any more skirts. She put on an ordinary skirt in the end, but was dragged into a coffee shop by her friend. In a coffee shop with Lolita lovers, she was finally convinced by a person who liked Lolita. As long as you have passion and love in your heart and you are happy, it will be fine.

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A subculture is a group of people within a cultural society that differentiates itself from the conservative and standard values to which it belongs, often maintaining some of its founding principles. Subcultures develop their own norms and values regarding cultural, political, and sexual matters. Subcultures are part of society while keeping their specific characteristics intact. Examples of subcultures include BDSM, hippies, hipsters (which include 1940s original parent subculture and nipster), goths, steampunks, bikers, punks, skinheads, gopnik, hip-hoppers, metalheads, cosplayers, otaku, furries, and more. The concept of subcultures was developed in sociology and cultural studies.[1] Subcultures differ from countercultures.

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A subculture is a group of people within a cultural society that differentiates itself from the conservative and standard values to which it belongs, often maintaining some of its founding principles. Subcultures develop their own norms and values regarding cultural, political, and sexual matters. Subcultures are part of society while keeping their specific characteristics intact. Examples of subcultures include BDSM, hippies, hipsters (which include 1940s original parent subculture and nipster), goths, steampunks, bikers, punks, skinheads, gopnik, hip-hoppers, metalheads, cosplayers, otaku, furries, and more. The concept of subcultures was developed in sociology and cultural studies.[1] Subcultures differ from countercultures.

The Oxford English Dictionary defines subculture, in regards to sociological and cultural anthropology, as "an identifiable subgroup within a society or group of people, esp. one characterized by beliefs or interests at variance with those of the larger group; the distinctive ideas, practices, or way of life of such a subgroup."[2]

As early as 1950, David Riesman distinguished between a majority, "which passively accepted commercially provided styles and meanings, and a 'subculture' which actively sought a minority style ... and interpreted it in accordance with subversive values".[3] In his 1979 book Subculture: The Meaning of Style, Dick Hebdige argued that a subculture is a subversion to normalcy. He wrote that subcultures can be perceived as negative due to their nature of criticism to the dominant societal standard. Hebdige argued that subculture brings together like-minded individuals who feel neglected by societal standards and allow them to develop a sense of identity.[4]

In 1995, Sarah Thornton, drawing on Pierre Bourdieu, described "subcultural capital" as the cultural knowledge and commodities acquired by members of a subculture, raising their status and helping differentiate themselves from members of other groups.[5] In 2007, Ken Gelder proposed to distinguish subcultures from countercultures based on the level of immersion in society.[6] Gelder further proposed six key ways in which subcultures can be identified through their:

1. often negative relations to work (as 'idle', 'parasitic', at play or at leisure, etc.);

2. negative or ambivalent relation to class (since subcultures are not 'class-conscious' and do not conform to traditional class definitions);

3. association with territory (the 'street', the 'hood', the club, etc.), rather than property;

4. movement out of the home and into non-domestic forms of belonging (i.e. social groups other than the family);

5. stylistic ties to excess and exaggeration (with some exceptions);

6. refusal of the banalities of ordinary life and massification.[6]

Sociologists Gary Alan Fine and Sherryl Kleinman argued that their 1979 research showed that a subculture is a group that serves to motivate a potential member to adopt the artifacts, behaviors, norms, and values characteristic of the group.[7]

The evolution of subcultural studies has three main steps:[8]

The earliest sociological studies on subcultures came from the so-called Chicago School, who interpreted them as forms of deviance and delinquency. Starting with what they called Social Disorganization Theory, they claimed that subcultures emerged on one hand because of some population sectors' lack of socialization with the mainstream culture and, on the other, because of their adoption of alternative axiological and normative models. As Robert E. Park, Ernest Burgess, and Louis Wirth suggested, by means of selection and segregation processes, there thus appear in society "natural areas" or "moral regions" where deviant models concentrate and are re-inforced; they do not accept objectives or means of action offered by the mainstream culture, proposing different ones in their place-thereby becoming, depending on circumstances, innovators, rebels, or retreatists ( Richard Cloward and Lloyd Ohlin).

Subcultures, however, are not only the result of alternative action strategies but also of labelling processes on the basis of which, as Howard S. Becker explains, society defines them as outsiders. As Cohen clarifies, every subculture's style, consisting of image, demeanour and language becomes its recognition trait. And an individual's progressive adoption of a subcultural model will furnish him/her with growing status within this context but it will often, in tandem, deprive him/her of status in the broader social context outside where a different model prevails.[9] Cohen used the term 'Corner Boys' which were unable to compete with their better secured and prepared peers. These lower-class youths didn't have equal access to resources, resulting in the status of frustration, marginalization, and search for a solution.[10]

A goth couple attending the Whitby Goth Weekend festival, dressed in typical Gothic Victorian and Elizabethan styles

In the work of John Clarke, Stuart Hall, Tony Jefferson, and Brian Roberts of the Birmingham CCCS ( Centre for Contemporary Cultural Studies), subcultures are interpreted as forms of resistance. Society is seen as being divided into two fundamental classes, the working class and the middle class, each with its own class culture, and middle-class culture being dominant. Particularly in the working class, subcultures grow out of the presence of specific interests and affiliations around which cultural models spring up, in conflict with both their parents' culture and mainstream culture. Facing a weakening of class identity, subcultures are then new forms of collective identification, expressing what Cohen defined "symbolic resistance" against the mainstream culture and developing imaginary solutions for structural problems.

As Paul Willis and Dick Hebdige underline, identity and resistance in subcultures are expressed through the development of a distinctive style which, by a re-signification and "bricolage" operation, use cultural goods and services as standardized products to buy and consume, in order to communicate and express one's own conflict. Yet the culture industry is often capable of re-absorbing the components of such a style and once again transforming them into consumer goods for the mass society. At the same time the mass media, while they participate in building subcultures by broadcasting their images, also weaken subcultures by depriving them of their subversive content or by spreading a socially stigmatized image of them and their members.[11]

The most recent interpretations see subcultures as forms of distinction. In an attempt to overcome the idea of subcultures as forms of deviance or resistance, they describe subcultures as collectivities which, on a cultural level, are sufficiently homogeneous internally and heterogeneous with respect to the outside world to be capable of developing, as Paul Hodkinson points out, consistent distinctiveness, identity, commitment and autonomy. Defined by Sarah Thornton as taste cultures, subcultures are endowed with elastic, porous borders, and are inserted into relationships of interaction and mingling, rather than independence and conflict, with the cultural industry and mass media, as Steve Redhead and David Muggleton emphasize. The very idea of a unique, internally homogeneous, dominant culture is explicitly criticized. Thus forms of individual involvement in subcultures are fluid and gradual, differentiated according to each actor's investment, outside clear dichotomies. The ideas of different levels of subcultural capital ( Sarah Thornton) possessed by each individual, of the supermarket of style ( Ted Polhemus) and of style surfing (Martina Böse) replace that of the subculture's insiders and outsiders - with the perspective of subcultures supplying resources for the construction of new identities going beyond strong, lasting identifications.

Members of the seminal punk rock band Ramones wearing early punk fashion items such as Converse sneakers, black leather jackets, and blue jeans

The study of subcultures often consists of the study of symbolism attached to clothing, music, hairstyles, jewellery, and other visible affectations by members of subcultures, and also of the ways in which these same symbols are interpreted by members of the dominant culture. Dick Hebdige writes that members of a subculture often signal their membership through a distinctive and symbolic use of style, which includes fashions, mannerisms, and argot.[12]

Trekkies are a subculture of Star Trek fans.

Subcultures can exist at all levels of organizations, highlighting the fact that there are multiple cultures or value combinations usually evident in any one organization that can complement but also compete with the overall organisational culture.[13] In some instances, subcultures have been legislated against, and their activities regulated or curtailed.[14] British youth subcultures had been described as a moral problem that ought to be handled by the guardians of the dominant culture within the post-war consensus.[14]

Potato chip packages featuring hip hop subcultural designs in a case of mainstream commercial cultural merging

It may be difficult to identify certain subcultures because their style (particularly clothing and music) may be adopted by mass culture for commercial purposes. Businesses often seek to capitalize on the subversive allure of subcultures in search of Cool, which remains valuable in the selling of any product.[15] This process of cultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles that appear alien to mainstream society.[16]

Music-based subcultures are particularly vulnerable to this process; what may be considered subcultures at one stage in their histories - such as jazz, goth, punk, hip hop, and rave cultures - may represent mainstream taste within a short period.[17] Some subcultures reject or modify the importance of style, stressing membership through the adoption of an ideology which may be much more resistant to commercial exploitation.[18] The punk subculture's distinctive (and initially shocking) style of clothing was adopted by mass-market fashion companies once the subculture became a media interest. Dick Hebdige argues that the punk subculture shares the same "radical aesthetic practices" as the Dadaist and Surrealist art movements:

Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion ... Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip ... fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops.[19]

In 1985, French sociologist Michel Maffesoli coined the term urban tribe or neotribalism. It gained widespread use after the publication of his The Time of the Tribes (1988).[20] In 1996, this book was published in English.[21] According to Maffesoli, urban tribes are microgroups of people who share common interests in urban areas. The members of these relatively small groups tend to have similar worldviews, dress styles and behavioral patterns.[22] Their social interactions are largely informal and emotionally laden, different from late capitalism's corporate- bourgeoisie cultures, based on dispassionate logic. Maffesoli claims that punks are a typical example of an "urban tribe".[23] In the context of consumer culture, the notion of consumer tribes indicate ephemeral groups of individuals that often share a common interest and a share a subculture,[24] they often fluctuate around a common hobby or interest but lack permanent social bonds to become a brand community.[25]

The Stonewall Inn in the gay village of Greenwich Village, Manhattan, site of the June 1969 Stonewall riots, is adorned with rainbow pride flags.[26][27][28]

The sexual revolution of the 1960s led to a countercultural rejection of the established sexual and gender norms in the Western world, particularly in the urban areas of Europe, North and South America, Australia, and white South Africa. A more permissive social environment in these areas led to a proliferation of sexual subcultures-cultural expressions of non-normative sexuality. As with other subcultures, sexual subcultures adopted certain styles of fashion and gestures to distinguish themselves from mainstream Western culture.[29]

Lesbian, gay, bisexual, and transgender ( LGBT) people express themselves through the LGBT culture, considered the largest sexual subculture of the 20th and 21st centuries. With the ever-increasing acceptance of homosexuality in the early 21st century, including its expressions in fashion, music, and design, the gay culture can no longer be considered a subculture in many parts of the world, although some aspects of gay culture like leathermen, bears, and chubs are considered subcultures within the gay movement itself.[29] The butch and femme identities or roles among some lesbians also engender their own subculture with stereotypical attire, for instance drag kings.[29] A late 1980s development, the queer movement can be considered a subculture broadly encompassing those that reject normativity in sexual behavior, and who celebrate visibility and activism. The wider movement coincided with growing academic interests in queer studies and queer theory.

Aspects of sexual subcultures can vary along other cultural lines. For instance, in the United States, down-low is a slang term specifically used within the African-American community[30] to refer to Black men who usually identify as heterosexual but actively seek sexual encounters and relations with other men, practice gay cruising, and frequently adopt a specific hip-hop attire during these activities.[29][31] They avoid sharing this information even if they have female sexual partner(s), they are married to a woman, or they are single.[32][33][34][35]

In a 2011 study, Brady Robards and Andy Bennett said that online identity expression has been interpreted as exhibiting subcultural qualities. However, they argue it is more in line with neotribalism than with what is often classified as subculture. Social networking websites are quickly becoming the most used form of communication and means to distribute information and news. They offer a way for people with similar backgrounds, lifestyles, professions or hobbies to connect. According to a co-founder and executive creative strategist for RE-UP, as technology becomes a "life force," subcultures become the main bone of contention for brands as networks rise through cultural mash-ups and phenomenons.[36] Where social media is concerned, there seems to be a growing interest among media producers to use subcultures for branding. This is seen most actively on social network sites with user-generated content, such as YouTube.

Subcultures can be and have been successfully targeted by firms commercially. A stream of academic research in consumer culture shows the multiple ways in which companies and firms target subcultures with commercial offerings.[37][38]

Discrimination-based harassment and violence are sometimes directed towards a person or group based on their culture or subculture.[39][40][41][42] In 2013, the Greater Manchester Police in the United Kingdom began to classify attacks on subcultures such as goths, emos, punks, and metalheads as hate crimes, in the same way they record abuse against people because of their religion, race, disability, sexual orientation or transgender identity.[42] The decision followed the murder of Sophie Lancaster and beating of her boyfriend in 2007, who were attacked because they were goths.[41] In 2012, human rights activists have denounced the occurrence of emo killings in Iraq, which consisted of between at least 6 and up to 70 teenage boys who were kidnapped, tortured, and murdered in Baghdad and elsewhere in Iraq, due to being targeted because they dressed in a "Westernized" emo style.[39][40]

1. (Subscription or ^ "subculture". Oxford English Dictionary (Online ed.). Oxford University Press. participating institution membership required.)

2. ^ Hebdige, Dick (1979). "Subculture: the meaning of style" (PDF).

3. Gelder 2007

4. ^ Nwalozie, Chijioke J. (2015). "Rethinking Subcultures and Subculture Theory in the Study of Youth Crime _ A theoretical Discourse" (PDF). Archived from the original (PDF) on 2018-12-23.

5. ^ Dellwing, M.; Kotarba, J.; Pino, N. (2014-10-22). The Death and Resurrection of Deviance: Current Ideas and Research. Springer. ISBN 9781137303806.

6. Anheier, Helmut K., Stefan Toepler and Regina List, eds., ^ International Encyclopedia of Civil Society, (Springer, 2010)

7. Hall, Stuart, Tony Jefferson, Resistance Through Rituals: Youth Subcultures in Post-War Britain (Routledge, 1993).

8. Howes, David. ^ Cross-cultural consumption: global markets, local realities. New York: Routledge, 1996. Print.

9. Goldstein-Gidoni, Ofra. "Producers of 'Japan' in Israel: ^ Cultural appropriation in a non-colonial context." Ethnos:Journal of Anthropology 68.3 (2003): 365. Print.

10. Blair, M. Elizabeth, "Commercialization of Rap Music Youth ^ Subculture." Journal of Popular Culture 27.3 (1993): 21-33. Print.

11. Lewin, Phillip, J. Patrick Williams. "Reconceptualizing Punk through ^ Ideology and Authenticity". Conference Papers--American Sociological Association. 2007 Annual Meeting, 2007.

12. ^ Frehse, Fraya (February 2006). "As realidades que as 'tribos urbanas' criam" [The realities that 'urban tribes' create]. Revista Brasileira de Ciências Sociais (in Portuguese). 21 (60). doi:10.1590/S0102-69092006000100012.

13. ^ Maffesoli, Michel (1996-02-27). The Time of the Tribes: The Decline of Individualism in Mass Society. ISBN 080398474X.

14. ^ "'Urban tribes' thriving in modern society". Archived from the original on 2017-09-08.

15. ^ Rosenberg, Eli (June 24, 2016). "Stonewall Inn Named National Monument, a First for the Gay Rights Movement". The New York Times.

16. ^ Hovey, Jaime (2007). "Sexual subcultures". In Malti-Douglas, Fedwa (ed.). Encyclopedia of Sex and Gender. Macmillan Social Science Library. Vol. 4. Farmington Hills, Michigan: Macmillan Reference USA. pp. 1372-1374. ISBN 9780028661155. OCLC 922889305.

17. ^ Green, Jonathon (2006). Cassell's Dictionary of Slang. Sterling Publishing. p. 893. ISBN 978-0-304-36636-1. down low n. [1990s+] (US Black) a state of secrecy. down low adj. [1990s+] () covert, secret (i.e. keeping a low profile)

18. ^ Bond, Lisa; Wheeler, Darrell P.; Millett, Gregorio A.; LaPollo, Archana B.; Carson, Lee F.; Liau, Adrian (April 2009). Morabia, Alfredo (ed.). "Black Men Who Have Sex With Men and the Association of Down-Low Identity With HIV Risk Behavior". American Journal of Public Health. American Public Health Association. 99 (Suppl 1): S92-S95. doi:10.2105/AJPH.2007.127217. eISSN 1541-0048. ISSN 0090-0036. PMC 2724949. PMID 19218177. S2CID 40119540.

19. ^ Johnson, Jason (1 May 2005). "Secret gay encounters of black men could be raising women's infection rate". San Francisco Chronicle.

20. ^ Mutua, Athena (September 28, 2006). Progressive Black Masculinities. New York and London: Routledge. p. 169. ISBN 978-0-415-97687-9.

21. ^ Bennett, Jessica (May 19, 2008). "Outing Hip-Hop". Newsweek.

22. ^ Schouten, John W.; McAlexander, James H. (1995). "Subcultures of Consumption: An Ethnography of the New Bikers". Journal of Consumer Research. 22: 43. doi:10.1086/209434.

23. Rasheed, Ahmed; Ameer, Mohammed (10 March 2012). "Iraq militia stone youths to death for "emo" style". Reuters. Archived from the original on 23 April 2022.

24. "Iraqi 'emo' youths reportedly killed by conservative militias". BBC News. 11 March 2012. Archived from the original on 18 June 2022.

25. Sedgwick, Mark (4 April 2013). "How are goths and emos defined?". BBC News. Archived from the original on 25 April 2022.

26. "Attacks on goths, punks, and emos are 'hate crimes'". Channel 4 News. 4 April 2013. Archived from the original on 19 October 2021.

Cante, Richard C. (March 2009). Gay Men and the Forms of Contemporary US Culture. London, England: Ashgate Publishing. ISBN 978-0-7546-7230-2.

Gelder, Ken (2007). Subcultures: Cultural Histories and Social Practice (Routledge, March 2007; softcover ISBN 0-415-37952-0)

Hebdige, Dick (1979). Subculture: The Meaning of Style (Routledge, March 10, 1981; softcover ISBN 0-415-03949-5). Cited in Negus, Keith (1996). Popular Music in Theory: An Introduction. Wesleyan University Press. ISBN 0-8195-6310-2.

Huq, Rupa (2006) 'Beyond subculture' (Routledge, 2006; softcover ISBN 0-415-27815-5. Hardcover ISBN 0-415-27814-7)

Maffesoli, Michel (1996). The Time of the Tribes: The Decline of Individualism in Mass Society. (London: Sage Publications. ISBN 0-8039-8474-X)

McKay, George (1996) Senseless Acts of Beauty: Cultures of Resistance since the Sixties. (London: Verso. ISBN 1-85984-028-0.)

McKay, George (2005) Circular Breathing: The Cultural Politics of Jazz in Britain. Durham NC: Duke University Press. ISBN 0-8223-3573-5.

Riesman, David (1950). "Listening to popular music", American Quarterly, 2, p. 359-71. Cited in Middleton, Richard (1990/2002). Studying Popular Music, p. 155. Philadelphia: Open University Press. ISBN 0-335-15275-9.

Thornton, Sarah (1995). Club Cultures: Music, Media, and Subcultural Capital. Cambridge: Polity Press. Cited in Negus, Keith (1996). Popular Music in Theory: An Introduction. Wesleyan University Press. ISBN 0-8195-6310-2.

Watters, Ethan (2003). Urban Tribes: A Generation Redefines Friendship, Family, and Commitment. ISBN 1-58234-264-4.

Hall, Stuart, Tony Jefferson (1993). Resistance Through Rituals: Youth Subcultures in Post-War Britain. Routledge, 1993.

Blair, M. Elizabeth (December 1993). "Commercialization of the Rap Music Youth Subculture". The Journal of Popular Culture. 27 (3): 21-33. doi:10.1111/j.0022-3840.1993.00021.x. ProQuest 195356599.

Goldstein-Gidoni, Ofra. "Producers of 'Japan' in Israel: Cultural appropriation in a non-colonial context." Ethnos:Journal of Anthropology 68.3 (2003): 365. Print.

Lewin, Phillip, J. Patrick Williams. "Reconceptualizing Punk through Ideology and Authenticity". Conference Papers-American Sociological Association. 2007 Conference Papers, 2007.

Howes, David. Cross-cultural consumption: global markets, local realities. New York: Routledge, 1996. Print.

Fine, Gary Alan; Kleinman, Sherryl (July 1979). "Rethinking Subculture: An Interactionist Analysis". American Journal of Sociology. 85 (1): 1-20. doi:10.1086/226971. S2CID 144955053.

Francois, L. (2013, May 25). Subcultures: Big Opportunity for Social Brands to Generate Value. Retrieved November 24, 2014, from http://www.socialmediatoday.com/content/subcultures-big-opportunity-social-brands-generate-value

Huntington, S. (2014, March 24). Subcultures and Social Media: Mass Differentiation. Retrieved November 24, 2014, from http://socialmediadata.com/subcultures-and-social-media-mass-differentiation/

Robards, Brady; Bennett, Andy (1 April 2011). "MyTribe: Post-subcultural Manifestations of Belonging on Social Network Sites". Sociology. 45 (2): 303-317. doi:10.1177/0038038510394025. hdl:10072/39970. S2CID 146711846.

Беляев, И. А. Культура, субкультура, контркультура / И. А. Беляев, Н. А. Беляева // Духовность и государственность. Сборник научных статей. Выпуск 3; под ред. И. А. Беляева. - Оренбург: Филиал УрАГС в г. Оренбурге, 2002. - С. 5-18.

Berzano, L., Genova, C. (2015). Lifestyles and Subcultures. History and a New Perspective. New York, NY: Routledge.

# data[].attributes.attachment_link.description
A subculture is a group of people within a cultural society that differentiates itself from the conservative and standard values to which it belongs, often maintaining some of its founding principles. Subcultures develop their own norms and values regarding cultural, political, and sexual matters. Subcultures are part of society while keeping their specific characteristics intact.

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I learnt of the similarities between post-subculture and the “middle” people and conducted a literature survey of this emerging community. But the research of post-subculture is very little, and this theory has been criticized. Maybe because this kind of people are new and mysteries to all of us.

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A counterculture is a culture whose values and norms of behavior differ substantially from those of mainstream society, sometimes diametrically opposed to mainstream cultural mores.[1][2] A countercultural movement expresses the ethos and aspirations of a specific population during a well-defined era. When oppositional forces reach critical mass, countercultures can trigger dramatic cultural changes. Prominent examples of countercultures in the Western world include the Levellers (1645–1650),[3] Bohemianism (1850–1910), the more fragmentary counterculture of the Beat Generation (1944–1964), and the globalized counterculture of the 1960s (1965–1973).[4]

# data[].attributes.attachment_link.description
A counterculture is a culture whose values and norms of behavior differ substantially from those of mainstream society, sometimes diametrically opposed to mainstream cultural mores.[1] [2] A countercultural movement expresses the ethos and aspirations of a specific population during a well-defined era. When oppositional forces reach critical mass, countercultures can trigger dramatic cultural changes.

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Hebdige argues that all subcultures experience the same trajectory. In this model, subcultures initially form through a common resistance. The dominant society often sees these groups as radical, leading to fear, skepticism, and anxiety in their response. In some ways, this gives the subculture's resistance more power but only momentarily, because eventually entrepreneurs find a way to commodify the style and music of the subculture. Before long, elements of the subculture are available to the mainstream, i.e. Edwardian jackets of the Teddy boys. In this way, what was once subversive, rebellious, and radical, is now contained. For this reason, it is often the case that the moment when dominant society begins to recognize a subculture is the moment that the resistant power of the subculture begins to die.
赫布迪奇认为，所有亚文化都经历着相同的轨迹。在这个模型中，亚文化最初是通过共同的抵抗形成的。主流社会常常将这些群体视为激进分子，导致他们的反应产生恐惧、怀疑和焦虑。在某些方面，这给了亚文化的抵抗更大的力量，但只是暂时的，因为最终企业家找到了一种将亚文化的风格和音乐商品化的方法。不久之后，亚文化的元素就进入了主流，即爱德华时代的泰迪男孩夹克。这样一来，曾经的颠覆性、反叛性、激进性现在就被遏制了。因此，往往当主流社会开始承认亚文化的时候，亚文化的反抗力量就开始消亡。

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Two forms of incorporation:the commodity form and the ideological form

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Two forms of incorporation:the commodity form and the ideological form

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Subcultures And Countercultures - Culture MCAT Wiki - MCAT Content

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Subcultures include people who may accept much of the dominant culture but are set apart from it by one or more culturally significant characteristics. Some examples of subcultures are LGBT, bodybuilders, nudists, hip hop, grunge. On the other hand, countercultures are groups of people who differ in certain ways from the dominant culture and whose norms and values may be incompatible with it. Some examples are: Englightenment, Suffragettes, Romanticism.

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* Variation in behavioral expectations and social norms can exist within a single culture.

* A subculture is a culture shared by a smaller group of people who are also part of a larger culture but has specific cultural attributes that set them apart.

* Countercultures are groups whose members adopt cultural patterns in opposition to the larger culture.

Key Terms
subculture: a culture shared by a smaller group of people who are also part of a larger culture, but has specific cultural attributes that set them apart

counterculture: a group whose members adopt cultural patterns in opposition to the larger culture

culture: can be thought of as all the beliefs, assumptions, objects, behaviors, and processes that make up a shared way of life

mass media: any means of delivering standardized messages to a large audience

social norms: informal understandings that govern the behavior of members of a society

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Subcultures And Countercultures - Culture MCAT Wiki - MCAT Content

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While there may be a dominant culture in society, variations like subcultures (a culture shared...

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Man should no longer act as—or become—a rational animal. He should be a lunatic, willing to risk everything for his dangerous fantasy, capable of triumphing, willing to die for what the world has and for what it doesn't have. Everyone's ideal should be to stop being a human being. This can only be achieved through absolute willfulness.
人应该不再充当—或成为—理性的动物。他应该成为一个疯子，为了他危险的幻想而甘愿冒一切风险，能够高歌猛进，愿意为世界已有的一切而死，也愿意为世界所没有的一切而死。每个人的理想都应该是不再做人。这只能通过绝对的任性妄为来实现。

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The relationship between subculture, counter-culture and dominant culture.

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The relationship between subculture, counter-culture and dominant culture.

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I’m interested in subculture and love to wear subculture style clothes,but I found that on Chinese social sharing apps, the number of posts on #basic/primary subculture account for a large proportion,but on the apps such as instagram and TikTok,there are no such similar tags.

# data[].attributes.subject
I’m interested in subculture and love to wear subculture style clothes,but I found that on Chinese social sharing apps, the number of posts on #basic/primary subculture account for a large proportion,but on the apps such as instagram and TikTok,there are no such similar tags.

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Muggleton argues that the pick and mix approach to style evident among the respondents in his study is due to the increasing proliferation of youth styles, and the prominence of the retro market, combined with the new postmodern sensibilities of style in which individualism has surpassed an emphasis on collectivity as a means by which social actors seek out desirable visual images, and construct sociocultural identities, for themselves. The development of post-subcultural theory has subsequently seen a range of conceptual frameworks employed, most notably ‘neo-tribe’, ‘lifestyle’ and ‘scene’.
马格尔顿认为，他的研究中受访者对风格的挑选和混合方法明显是由于青年风格的日益扩散、复古市场的突出，以及新的后现代情感的结合。在这种风格中，个人主义已经超越了对集体的强调，作为社会行动者为自己寻找理想的视觉形象并构建社会文化身份的手段。后亚文化理论的发展随后出现了一系列概念框架的使用，其中最著名的是“新部落”、“生活方式”和“场景”。

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Hebdige, Punk and the Post-subcultural Meaning of Style

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I argue that the reading of punk subculture as a style that can be seen to symbolise an end of history through its reliance on signs and signifiers reconfigured from previous youth subcultures that have been emptied of their meaning, and that this emptiness was being used by punks often in a highly individualised manner, in a strategy of visual shock tactics, is the first development of a reflection on youth subculture of having a postmodern sensibility.
我认为，将朋克亚文化解读为一种风格，可以被视为象征着历史的终结，因为它依赖于从以前的青年亚文化中重新配置的符号和能指，而这些符号和能指已经被空虚了，而这种空虚正被朋克所利用通常以高度个性化的方式，以视觉冲击策略的策略，是对具有后现代感性的青年亚文化反思的首次发展。

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Hebdige, Punk and the Post-subcultural Meaning of Style

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This chapter revisits and re-evaluates Hebdige's work in Subculture the Meaning of Style (1979) and his later work Hiding in the Light: On Images and Things (1988). I suggest that Hebdige's work is actually closer in proximity to the post-subcultural...

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On Chinese social sharing apps, the number of posts on #basic/primary subculture style outfits is one-third of the number of #subculture outfit tag,and posts on #subculture outfits also include basic posts.

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The subculture tags on China app Douyin(TikTok)

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The subculture tags on China app Douyin(TikTok)

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I took this picture at Canon Hillpark,the two trees look funny,one is full of leaves, the other tree is bare.
Then I found that they are just like the two group of people-the public and the people who extremely admire subcultures.

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Colorful fireworks exploded from the elf's heart. Although it was painful, it was very beautiful.

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After the elf escaped again, he lay alone on the ground with colorful flames igniting on his body.

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Nov 10. V&A exhibition about Japanese culture 

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Nov 10. V&A exhibition about Japanese culture 

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This exhibition displays Japanese animation according to three aspects: mountains, sea, and sky. It is very helpful for children to understand comics. It is easy to understand and has many very cute images. I recorded many excellent creative inspirations.

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I put on a wig, dressed up and went to Comic Con as a “middle” person. I didn’t cosplay any of the characters, but I still got a lot of people express their love and compliments on my look while taking photos. This gave me a lot of confidence.

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Positive:/Great idea,continue to research
Negative:/The story is too fantasy and abstract
Advice:
/Watch exhibitions about subculture such as Gosh
/Go to an subculture activity such as comic con
/Change a easier and more realistic way to tell this story