References
[1]. Martinez, T.A. (1997). Popular culture as oppositional culture: Rap as resistance. Sociological Perspectives, 40(2), 265-286.
[2]. Retrieved from https://www.iqiyi.com/common/20170919/1bdcd3a648a3585f.html
[3]. Jenkins, H. (2012). Textual poachers: Television fans and participatory culture. Routledge.
[4]. Gray, J., Sandvoss, C., & Harrington, C.L. (Eds.). (2017). Fandom: Identities and communities in a mediated world. NYU Press.
[5]. Jensen, J. (2002). Fandom as pathology: The consequences of characterization. In The adoring audience (pp. 9-29). Routledge.
[6]. Weijia, D.E.N.G. (2009). Recent Advances of Fan Studies in the Occident. Journal of International Communication.
[7]. Grosser A (2007) Les identities difficiles. Institut d’ Etudes Politiques de Paris, Paris
[8]. Giddens, A. (2020). Modernity and self-identity: Self and society in the late modern age. In The new social theory reader (pp. 354-361). Routledge.
[9]. Tajfel, H. (1981). Human groups and social categories (p. 6). Cambridge: Cambridge university press.
[10]. Rogers, E. (2003). Diffusion of Innovations. Fifth edition. Free Press: New York.
[11]. Roudinesco, E., & Bray, B. T. (1997). Jacques Lacan. Columbia University Press.
[12]. Goffman, E. (2021). The presentation of self in everyday life. Anchor.
[13]. Featherstone, M. (2007). Consumer culture and postmodernism. Sage.
[14]. Romero, E. (2012). Free Stylin': How Hip Hop Changed the Fashion Industry: How Hip Hop Changed the Fashion Industry. ABC-CLIO.
[15]. Tajfel, H., Turner, J. C., Austin, W. G., & Worchel, S. (1979). An integrative theory of intergroup conflict. Organizational identity: A reader, 56(65), 9780203505984-16.
Cite this article
Yang,Z. (2023). Research on The Identity Construction of Chinese Hip-Hop Fans. Lecture Notes in Education Psychology and Public Media,3,136-147.
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References
[1]. Martinez, T.A. (1997). Popular culture as oppositional culture: Rap as resistance. Sociological Perspectives, 40(2), 265-286.
[2]. Retrieved from https://www.iqiyi.com/common/20170919/1bdcd3a648a3585f.html
[3]. Jenkins, H. (2012). Textual poachers: Television fans and participatory culture. Routledge.
[4]. Gray, J., Sandvoss, C., & Harrington, C.L. (Eds.). (2017). Fandom: Identities and communities in a mediated world. NYU Press.
[5]. Jensen, J. (2002). Fandom as pathology: The consequences of characterization. In The adoring audience (pp. 9-29). Routledge.
[6]. Weijia, D.E.N.G. (2009). Recent Advances of Fan Studies in the Occident. Journal of International Communication.
[7]. Grosser A (2007) Les identities difficiles. Institut d’ Etudes Politiques de Paris, Paris
[8]. Giddens, A. (2020). Modernity and self-identity: Self and society in the late modern age. In The new social theory reader (pp. 354-361). Routledge.
[9]. Tajfel, H. (1981). Human groups and social categories (p. 6). Cambridge: Cambridge university press.
[10]. Rogers, E. (2003). Diffusion of Innovations. Fifth edition. Free Press: New York.
[11]. Roudinesco, E., & Bray, B. T. (1997). Jacques Lacan. Columbia University Press.
[12]. Goffman, E. (2021). The presentation of self in everyday life. Anchor.
[13]. Featherstone, M. (2007). Consumer culture and postmodernism. Sage.
[14]. Romero, E. (2012). Free Stylin': How Hip Hop Changed the Fashion Industry: How Hip Hop Changed the Fashion Industry. ABC-CLIO.
[15]. Tajfel, H., Turner, J. C., Austin, W. G., & Worchel, S. (1979). An integrative theory of intergroup conflict. Organizational identity: A reader, 56(65), 9780203505984-16.