The Consolidation of Youth Lifestyle in the 1960s： Swinging London Through The Drapers＇Record Magazine

This paper discusses how consumerism boosted youth lifestyle in the 1960s--mainly through modem magazines （particularly in Britain） and built a territorial symbolic identity through fashion. In the 1960s, the consolidation of youth culture becomes an international phenomenon. With the development of ready-to-wear, adolescents begin to be target as a consumer market. The music and fashion industries unite to create and advertise youth lifestyle. The fashion shifts from Paris to London. Magazine articles and publicity set the latest trends. The method applied is research in primary source--the British journal The Drapers＇ Record aiming to recognize fashion transformation and juvenilization in this period of time. The magazine shows ads and fashion editorials （mainly feminine）, articles and news about fashion trend. There is also a brands guide for shoppers and retailers. The magazines used in the research are from 1964 to 1967, July and August issues, when the fall-winter trends are shown. From 1964 on, we notice the orientation towards a juvenile market and style, but these trends will only fully materialize through 1967. It leads to the conclusion that between 1965 and 1967 fashion juvenilization developed, reached its peak and global range.

On the Localization of Hip-hop Culture in China

With sports as its carrier, youth hip hop culture reflects the absorption, digestion and development of foreign culture among Chinese young people. Hip-hop is popular among Chinese teenagers is not only due to the young people＇s psychological needs, but also because of the profound connotation of the era. Hip hop can contribute to the campus cultural construction. However, it also implies that local youth culture is missing in China. Hip hop dance was born in 1960s and classified into hip hop culture in 1970s as a typical representative of the four Hip-hop elements together with Graffiti, DJing, and MCing. It was spread into China in 1980s together with the movie Breakin： Hip hop has gradually become popular with Guangzhou, Shanghai, and Beijing as the center drawing much attention of the Chinese youth. Its educational significance cannot ignored from the perspective of youth culture, reflecting the absorption, digestion and development of foreign culture among Chinese young people,At the same time, it provides a good platform for young people to show their unique personality, passion, courage and life attitude.

The Development of Hip-Hop Dance Culture in China

Hip-hop dance originated in the Black neighborhood of New York popular global youth cultures in an unprecedented fashion. As in the 1970s and developed as one of the most a global youth culture, it was introduced to China's Mainland 30 years ago, underwent a series of rises and falls, and gradually transformed into a local scene under the influence of neighboring countries and regions. As hip-hop dance localizes in China, it has incorporated local ingredients such as Chinese traditional culture. Meanwhile, its function such as bodybuilding is also strengthened but the features such as competitiveness are weakened. The localization of hip-hop dance in China's Mainland reflects the globalization of the youth culture, which is featured by local hybridity, multicultural interactions, and conflicting interdependence with public media and commerce. This trend endows the global youth culture with a richer and more complex style and also shows that youth play an active part in generating the new forms and new styles of youth culture.

Revisionary Reconstructions of Urban Spaces＂ Claiming The Barrio as ＂Homely＂ Site in Nicholasa Mohr＇s Nilda

Although ghetto fiction is concerned with the geographical peripheries of white metropolis, its long-term strategy is to effect a radical restructuring of cityscape. This is not to state a criticism of neocolonial values upon which the city is built in opposition to the ghetto but rather of demonstrating the extent to which the white city and the ghetto are already deeply implicated within each other. In a ghetto novel, the white city is the subtext that we must recover, because history of ghetto formation itself is the subject of its discourse. Revaluation of the ghetto prepares us for later attempts to revive an urban and ＂ghettocentric＂ American identity. In contrast to some ghetto fiction where the ghetto is denounced as a place adverse to emancipatory ＂progress＂, Nicholasa Mohr＇s literary ghetto in Nilda （I 986） is not a narrative reinforcing the stereotypical representations of how racioethnic urban life and violent crime define each other. It is not, in other words, a location of unproblematic inherited identities but a place where orientations and identifications are negotiated.