Since the 20th century, the subculture, once a marginal cultural phenomenon, has been transformed into a global post-subculture. In this process, subcultural groups have undergone profound changes in multiple aspects....Since the 20th century, the subculture, once a marginal cultural phenomenon, has been transformed into a global post-subculture. In this process, subcultural groups have undergone profound changes in multiple aspects. Hybridity, openness, and dissolution of depth become the keywords to understand youth subcultures. This paper is attempted to explore its discursive changes in comptemporary subcultures. By describing and interpreting the most popular subcultural discourse--hip-hop discourse, it is found that counter language often used in the subcultural discourse has been weakened and new strategies, such as code switching and semiotic games arise. The paper argues that with the transition of discursive strategies, subcultural groups attempt to weave the network of the global subcultures and create an interactive discursive space for global youth.展开更多
Although Chinese New Literature was strongly anti-traditional in expression, this does not sever the ties of blood that link it to traditional culture; and although it advocates a Western humanistic spirit, it does no...Although Chinese New Literature was strongly anti-traditional in expression, this does not sever the ties of blood that link it to traditional culture; and although it advocates a Western humanistic spirit, it does not install Western literature＇s aesthetic values. Due to the cultural distinctiveness and historical continuity of the Chinese language, it was never possible for the New Literature to become totally ＂Westernized＂ and turn its back on the mother culture. Therefore, when examining the modem transition of Chinese literature as a whole, we must pay attention to its conscious inheritance of the national cultural tradition and to its operating strategy of attacking traditional culture by making use of it, instead of insisting on its inevitable ties with modem Western literature. The New Literature is after all ＂Chinese＂ new literature; no matter how many external factors intervene or are involved, they cannot change its cultural attributes or identification with national culture. This is the premier precondition for our understanding of the modernity of New Literature.展开更多
文摘Since the 20th century, the subculture, once a marginal cultural phenomenon, has been transformed into a global post-subculture. In this process, subcultural groups have undergone profound changes in multiple aspects. Hybridity, openness, and dissolution of depth become the keywords to understand youth subcultures. This paper is attempted to explore its discursive changes in comptemporary subcultures. By describing and interpreting the most popular subcultural discourse--hip-hop discourse, it is found that counter language often used in the subcultural discourse has been weakened and new strategies, such as code switching and semiotic games arise. The paper argues that with the transition of discursive strategies, subcultural groups attempt to weave the network of the global subcultures and create an interactive discursive space for global youth.
文摘Although Chinese New Literature was strongly anti-traditional in expression, this does not sever the ties of blood that link it to traditional culture; and although it advocates a Western humanistic spirit, it does not install Western literature＇s aesthetic values. Due to the cultural distinctiveness and historical continuity of the Chinese language, it was never possible for the New Literature to become totally ＂Westernized＂ and turn its back on the mother culture. Therefore, when examining the modem transition of Chinese literature as a whole, we must pay attention to its conscious inheritance of the national cultural tradition and to its operating strategy of attacking traditional culture by making use of it, instead of insisting on its inevitable ties with modem Western literature. The New Literature is after all ＂Chinese＂ new literature; no matter how many external factors intervene or are involved, they cannot change its cultural attributes or identification with national culture. This is the premier precondition for our understanding of the modernity of New Literature.
