Youth Subcultures

In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. The exhibition emphasized the 'spectacular' elements of the subculture, reflecting a narrative that dominates accounts of punk dress, whereby it is presented as a site of art school creativity and disjuncture with the past. This is an important aspect of punk dress, but photos of bands and audiences reveal that there was much more to British punk style in the 1970s than what was being sold on London's King's Road. Heeding calls to trouble the boundary between the spectacular and the ordinary in subculture studies, this article looks at the ordinariness of 1970s British punk dress, arguing that we should understand punk dress in terms of mass-market commodities, not just customization and designer fashion. Many of these commodities were worn by the skinheads who preceded punk, and this article explores this subcultural continuity by focusing on the role of the Dr. Marten boot and the Harrington jacket in first-and second-wave British punk dress. It does so through discussion of the Cockney Rejects, the 1979 BBC television dramatization of the Sham 69 album That's Life and the Undertones.

Med kreativitet, humor og civil ulydighed som våben er det lykkedes unge aktivister at få skabt fokus på selve sagen. Med fredelige besættelser og muntre gadeaktioner får de alle os andre til at huske, hvad det hele egentlig drejer sig om: København skal have nogle fristeder. Der er huse til det, og der er unge mennesker, der kan skabe indholdet og køre det til glæde for en masse andre og for byen i det hele taget.

The fashion style of the 'Gothloli' (Gosurori, or Gothic Lolita), a member of the contemporary 'Lolita' movement, is inexorably bound to the archetypal 'Alice'. Members of this subculture dress in garments inspired by the Victorian age, whilst the silhouette is reminiscent, particularly, of Sir John Tenniel’s illustrations for Lewis Carroll’s heroine, and defined by Walt Disney’s Alice. Most often, the design is referential and, other times, the translation is more literal, whereby outfits may be decorated with Alice figures and motifs, or the wearer more consciously mimics Alice’s appearance.

The Alice-Lolita image is prolific, especially in Japan. Here, the relationship between Alice and Lolita also appears in other areas of popular culture; in the art of Nori Tomizaki; shōjo graphic novels and anime; and live-action film. In Nori’s digital paintings and manipulated photographs, which portray doll-like figures and lifelike dolls, there is an emphasis on the Gothic aspect, whereby Alice and the Gothloli are juxtaposed to represent the epitome of a sweet but scary little girl. The leading characters of the manga and animated series, Rozen Maiden Träumend, may appear to be sweeter but also display a macabre edge. These Lolita-type dolls come to life and war against each other in order to win the prize of becoming 'Alice', an ultimate human Gothloli. For this chance to transform into this real little girl, they must fight and beat all other dolls at the 'Alice game'.

However, there may be more than a superficial connection between Alice and Lolita, in that, it may be argued, there is perhaps no coincidence that the author, Lewis Carroll, or Charles Lutwidge Dodgson (his true identity), is believed to have suffered from a syndrome known as the 'Lolita Complex', the condition that takes its name from the female protagonist of Vladimir Nabokov’s notorious novel, and designated as an unhealthy obsession with young girls. Though – whilst Carroll’s Alice stories, Nabokov’s Lolita and Gothloli are similar in the fact that they serve to immortalise the Little Girl – the Lolita fashion style, formed in Alice’s image and bearing the title of the Nabokovian child, is determined to be neither directly, nor circumstantially, related to its namesake.

This paper explores these intertextual relationships between Alice, Lolita and the Lolita fashion-based movement, and investigates the validity of the subculture’s identification with the Lolita Complex.

Of the challenges confronting the nation-building project in Timor-Leste, the " generation gap " is one of the most important. The history of Timor-Leste, characterized by foreign occupations by both Portugal and Indonesia, has produced an emerging national identity founded on the concept of suffering in the name of national self-determination. Official state narratives that outline a national identity based on the recent struggle for independence have privileged the generation of East Timorese whose members led the resistance movement against the Indonesian occupation. This emphasis has not only overlooked youth involvement in the liberation struggle, but it has also estranged the younger generation of East Timorese from the nation-state. The examination of street art, the medium most accessible to members of Timor-Leste's Geração Foun, or " new generation " , permits exploration of the ways that they identify with official notions of an emerging national identity.

u Puli… 71 JOSHUA KALČIĆ Pula SUBKULTURE MLADIH U PULI: OD PUNKA DO RASAPA ALTERNATIVNE SCENE Pula je grad bogate (sub)kulturne povijesti koja se može pratiti već od pedesetih godina dvadesetog stoljeća, no rad počinje s 1977. godinom, kad fenomen punka obilježava prekretnicu ne samo u pojavi subkultura mladih već i u njihovom znanstvenom proučavanju. Takav pristup omogućava da se, s određenim vremenskim odmakom, valorizira i katalogizira stanje subkulturnih stilova u Puli u usporedbi sa subkulturama mladih u drugim urbanim središtima, dominantnom kulturom te, longitudinalno, stanjem prvog desetljeća drugoga milenija, kad je subkulturna scena u Puli očito siromašnija nego nekoć.

The study deals with benefits and limits of the up-to-date contributions on the czech tramp history. The study focuses on specific attempts to synthetize the tramp history based on  both collective and individual memory. Finally, the study draws on the power aspect which is inevitably connected to the works about the (not only tramp) past.

Social infantilism of youths is particularly dangerous at present when the Russian society is oriented towards the top-priority innovative development and towards the growth of competitive advantages of social groups as well as those of each person.
Social infantilism shows itself in various aspects, including curricular activities (the priority of a degree certificate before knowledge in the eyes of a student, cheating, absenteeism), research (plagiarism, unfair practices in experimental research), professional activities (inactive job search), social life (lack of social positioning), personal and family life etc.
The issue in question is of current importance for a number of reasons among which are: 1) the insufficient development of a specific sociological view on students’ infantilism; 2) no fixed list of determinants of social infantilism; 3) lack of methods preventing youths’ social infantilism from the sociological standpoint (i.e. at the level of a social group rather than that of an individual).
The articles aims to develop the algorithms of discovery and prevention of social infantilism of university students and to create a strategy of countermeasures against various forms of social infantilism. Social infantilism of youths is considered as the main factor of reaction to the modernization of the Russian society. The sociological, psychological and pedagogical research results will be applied to analyze the issue.
In the course of University education, a student gains knowledge, skills and competence needed for further professional activity; adopts moral standards (for instance, the unacceptability of scientific plagiarism), professional codes of conduct; starts research activity, develops personal competitive ability.

This article is based on ethnographic work with two ‘‘crews’’ of young graffiti artists in southern Mexico
City. The crews share certain characteristics with gangs or urban tribes, but more with ‘‘communities of
practice’’: they live in the ‘‘figured world’’ of graffiti, a community of practice at the local and global level.
Through participation, including observation and the study of fanzines, group members learn the
language, technical and social skills, and values of this figured world. Their reasons to paint and the
topics they express are varied, but authentic expression is fundamental. Graffiti allows these young
people to establish an interesting interplay of identities in the world of graffiti versus their ordinary lives.

How do poverty, youth and crime relate to the concept of being 'cool'? Jonathan Ilan presents a unique, theoretically informed overview of street culture in various parts of the world – its origins, functions, manifestations and appeal – examining both its bearing on criminal lifestyles and on the cultivation of 'cool.'

Drawing on contemporary research and original examples to evidence new ways of thinking about street culture - from the favelas of Brazil to housing projects in the USA - the text locates street culture within its particular social, cultural and economic contexts. Covering diverse subjects from brutal violence to contemporary fashion it explores the ways in which street culture is intertwined with processes of social exclusion and inclusion.

An in-depth and even-handed guide to understanding the practices, styles and struggles associated with a particular section of the socio-economically disadvantaged, this text stands as an invaluable resource for students and academics across a range of disciplines, including youth studies, urban studies, criminology, sociology, cultural studies and geography.

The i'khothane youth subculture is a relatively new phenomenon that has emerged in some of South Africa's townships. Characterised by the rampant consumption of certain goods, such as expensive clothing, the subculture is unique in that it is also defined by the destruction of these goods in performances known as 'battles'. Demonised by the media, we set out to explore what makes these practices meaningful to the participants themselves. On the basis of in-depth interviews conducted with the members of one group, we bring to the academic literature a scarcely analysed phenomenon that is nevertheless an acknowledged element of popular youth culture in contemporary South Africa. We attempt to place the practice of i'khothane within the context of the patterns of conspicuous consumption that have emerged in (a highly unequal) post-apartheid South Africa. While the practice of burning expensive consumer goods in public may seem alien, especially in contrast to the impoverished surroundings within which the i'khothane live, there are discernable and understandable reasons why the subculture has gained both popularity and notoriety. We show how the practice of i'khothane is a potent means of articulating youth identity in settings seemingly left behind by the 'new' South Africa.

This article examines how involvement in high school journalism contributes to socialization into citizenship and, most crucially, to the development of a collective sensibility. Recent work by W Lance Bennett (2008), Zukin and his colleagues (2006), and Sara-Ellen Amster (2006) provides an interpretive lens for considering young people’s experiences with journalism and with citizenship. Interviews with 45 high school journalists from 19 different schools are analyzed, highlighting emerging definitions of citizenship as reflected in how young people discuss their work as student journalists. The study suggests that participation in the culture of high school journalism can provide young people with opportunities to develop the skills and experiences necessary for civic engagement, including the experience of collective decision-making. This study also argues that some young people come to understand the costs of engaged citizenship after negative experiences with their school’s administration, as such experiences reveal differing understandings of the roles of authority, journalism, and collective responsibility within the high school community that its high school journalism is meant to serve.

In Staying Alive While Living the Life, Sue-Ann MacDonald and Benjamin Roebuck unpack the realities of living on the streets from the perspective of homeless youth. While much is written about at-risk youth, most literature on youth homelessness reduces their lives to flattened images with little room for the diverse, complex and individual nature of their experiences. Challenging the dominant youth-at-risk conversation by putting forward a framework of survival and resilience, MacDonald and Roebuck illustrate the ways that young people who experience homelessness demonstrate tremendous resilience when facing adversity, social exclusion and various forms of oppression.

Drawing on conversations with homeless youth, this book focuses both on the external constraints imposed on their lives as well as the ways young people understand their circumstances and their approaches to problem solving. The result is a nuanced analysis that puts human agency at its centre, allowing readers to explore the challenges young people face and the internal and external resources they draw upon when making decisions about their lives.

Our cultural constructions of masculinity and femininity are damaging our music and tourism industries as well as our youth. They are damaging the families that build the country as well as inducing a new kind of academic and cultural flight as people like Marlon James, Stacy Ann Chin and Diana King - standard bearers in arts and culture - who leave because as queer people they are persecuted locally. James just won the prestigious Man Booker prize, an award that will never be associated with Jamaica, except with the knowledge that he had to leave Jamaica to be emotionally healthy enough to write. The construction of Jamaican masculinity as unequivocally dominant has lead to national statistic wherein Jamaica has 3.5 times the global average rate of GBV. The explanations for these types of actions - intimate partner violence, homophobic violence, sexual assault and physical violence are usually cultural: Jamaican nuh inna dat, a so Jamaican stay, Jamaican man dis and Jamaican ooman dat. This violence, also bears the baggage of colonialism and the pressure of living in a country that is America's backyard, that internalizes first world expectations, but that has a decided Third World reality. It is also the result of Class and race frustrations in the country....Jamaican men are angry, the women are angry...that anger becomes our culture. Our failure to address gender as a cultural product is to our own detriment. Our unwillingness to query what it means to be Jamaican by gender creates blind spots of assumption and violence that cripple the mental and emotional health, academic and work performance of our people, and the viability of our cultural products on a world stage. They create frustrations of Jamaicans with being Jamaican and living in Jamaica that push them away from claiming their culture as a site of independence and profit generation...because they see clearly that it is the culture that harms them. But where is the space to talk back? And where is the support from the powers that be?

Debido a que ya es imposible encontrar esta investigación sobre las entonces "nuevas" tribus urbanas locales, me pirateé a mí misma. Aquí les cuelgo mi publicación sobre las juventudes dosmileras y su diversidad estética, social y política de ese Chile pre Lady Gaga, que colindó con la Revolución Pingüina. Este librote que analiza la emergencia de la única tribu urbana propia chilena, "los pokemones", como las llamadas "peloláis", los "visuals", los "emos" y los "flaytes", fue publicado por Editorial Planeta en el año 2009 en la ciudad de Santiago de Chile.

À partir d’une enquête menée au Burkina Faso auprès d’individus vivant dans la rue — qui s’autodésignent par le terme «bakoroman» —, cet article pose la question des statuts communément associés aux différents âges de la vie. En plus de partager un ensemble de pratiques et de modes de sociabilité, les bakoroman se présentent en effet comme un groupe d’âge relativement homogène qui correspondrait à la période de transition entre l’enfance et l’âge adulte. Marqué par l’indétermination et l’inachèvement, cet âge recouvre à leurs yeux une capacité d’action distinctive que les bakoroman ont appris à exploiter. À l’encontre d’idées reçues et de perspectives surplombantes sur les catégories d’âge, cette ethnographie de la « jeunesse de rue » burkinabè explore la notion de liminarité appliquée à cet âge « entre-deux ». Ni enfance, ni âge adulte, la jeunesse est ici redéfinie comme une parenthèse, un « moment » de liberté et d’explorations situé entre l’insouciance de l’enfant et les responsabilités de l’adulte.

There has been a continuous attack on education, particularly alternative, progressive, democratic and liberatory forms of education that seek social justice and an equality of opportunity for all to develop.  In the UK this has led to an attack on educators as 'the enemies of promise' by the Secretary of State for Education.  However, what is being proposed by policy makers are the old 'know your station in life' strategies of managing inequality.  These have always resulted in a violation of the intelligence of people.

Adolescentes indígenas de diferentes etnias de México expresan sus opiniones, experiencias, ideas, sentimientos, dudas, dilemas, reclamos e inquietudes que quedan plasmadas en una publicación multimedia coordinada por UNICEF en México y el Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS).

Este documento se realizó con el objetivo de promover la participación de los y las adolescentes indígenas en México y dar a conocer la situación en la que viven. La iniciativa forma parte de los esfuerzos de UNICEF México para promover políticas públicas en favor de la niñez y la adolescencia, en especial de aquellos que se encuentran en las situaciones más vulnerables y desfavorecidas.

Esta iniciativa se desarrolló con la participación de adolescentes en Chiapas, Chihuahua, D.F. , Guerrero, Morelos, Jalisco, Oaxaca, Sinaloa, Veracruz y Estados Unidos de diferentes etnias de México entre las que se encuentran choles, huicholes, mixes, mixtecos, nahuas, rarámuris, tlapanecos, tzeltales, wixáritari, zapotecos y zoques, quienes se conviertieron en los protagonistas de este proyecto.

Con la presencia de jóvenes zapotecos residentes en la Ciudad de México, mixtecos de Morelos y mixes de Oaxaca, se llevó a cabo la presentación de este documento multimedia “Voces de jóvenes indígenas: Adolescencias, etnicidades y ciudadanías en México”, producto de un ejercicio de participación en el que 13 grupos de adolescentes de diversas etnias en México y Estados Unidos se expresaron y reflexionaron libremente sobre sus derechos, su identidad, sus vivencias y sus principales preocupaciones, con el fin de que sus voces sean escuchadas y conocidas más allá de sus comunidades.

“Este ejercicio, del que surgieron diversos proyectos de autoría adolescente indígena, es para nosotros los adultos y para los demás jóvenes de México de gran valor pues con ustedes estamos aprendiendo que no se trata sólo de reivindicar el reconocimiento de la cultura ancestral; sino que lo que ustedes nos proponen va más allá: reivindica el derecho a tener acceso a lo mejor de la producción humana actual en términos de cultura, de ciencia, de tecnología”, dijo Susana Sottoli, representante de UNICEF México.

A través de sus múltiples habilidades expresivas y creativas que incluyen textos, fotografías, video y grabados, entre otras manifestaciones artísticas de su autoría, los y las adolescentes manifiestan que quieren ser escuchados y tomados en cuenta. Demandan espacios de participación para contribuir a mejorar sus condiciones de vida y las de sus comunidades.

Desde 2010 UNICEF y CIESAS han trabajado en esta iniciativa recogiendo las voces de grupos de adolescentes indígenas de diversas partes del país con diferentes condiciones y experiencias de vida: adolescentes indígenas rurales, urbanos, migrantes y jornaleros, entre otros. La metodología utilizada para este libro-DVD prestó especial atención a la participación en igualdad de condiciones de los adolescentes no sólo como indígenas e integrantes de pueblos lingüística y étnicamente diferenciados, sino como jóvenes mexicanos y del mundo contemporáneo.

This paper models a type of cultural identification, based on autonomous self-identities.  As opposed to hiearchical forms of organization which dictate subservience and violence ("sleeper cells"), "waker cells" might provocatively model anarchist organizational patterns.  This form of cultural and political activism shuns central organzation and orthodoxies of behavior, in favor of people and "militias" which "awaken" to autonomous forms of politics, economics, and being.

El cine y el rock, formas de arte e industria popular, han mantenido una relación fructífera desde la segunda mitad del siglo XX. A partir de esto, el libro recorre subgéneros como el rockumental, la ópera rock y el biopic; se detiene en movimientos asimilados por el cine como el punk, la no wave o el metal; repasa algunas representaciones de la juventud en el cine de los años cincuenta y en las teen movies; detecta la presencia de la contracultura en el cine estadounidense y francés; para finalmente, explorar el panorama chileno y argentino.

Suban el volumen propone, a través de 13 ensayos firmados por críticos de Chile, Perú y Argentina, cartografiar y descifrar las relaciones entre cine y rock, buscando entusiasmar a melómanos y cinéfilos por partes iguales.

Título: Suban el volumen. 13 ensayos sobre cine y rock.
Editores: Iván Pinto, Álvaro García y Ximena Vergara.
Editorial: Calabaza del Diablo
Escriben: Alvaro Garcia Mateluna, Alejo Janin, Hernán Silva Arriagada, Alejandro Cozza, Juan Carlos Poveda, Iván Pinto, Andrés Nazarala, Mónica Delgado, José Carlos Cabrejo, Griselda Soriano, Luciana Calcagno, Ximena Vergara, Antonia Krebs, Luis Valenzuela, Susana Diaz.

In 1955 Rebel Without a Cause was released, James Dean portraying a troubled youth who was struggling with the difference between the post-war American ideal of a harmonious social structure and the reality he faced, alienation and victimisation. Despite contradicting America's utopian façade, the film was a universal success with Dean becoming the embodiment of adolescent rebellion. Soon his red bomber jacket became the coveted uniform of youth, with many teenagers adopting both his style and mannerisms. Dean provided disenchanted teenagers with a role model and turned rebellion into aspiration. Thus 1955 proved a pivotal moment in the portrayal of youth in film and photography. The concept of the teenager was solidified, and its characterisation cemented in the themes of love, violence, rebellion, and the desire for freedom.

potential of relationality to capture the ambivalence of entities (e.g., the demonic dead in Chapter 6) and social relations (for example, children in Chapter 4) under different cultural purviews. For the Korowai, the demonic dead are both deceased dear kinspeople and visually terrifying killers. The multiple valences of social and semiotic entities themselves can become the basis for analyses of social bonds and semiotic units that avoid reductionism by highlighting potentially unstable collections of valences that sit squarely but uncomfortably-more or less-between an "us" and a "them." Though the Korowai may try to stabilize these ambivalences, Stasch is arguing that analysts of society must come to embrace them. And indeed, for scholars of contextualized events of interaction, Stasch's work will most certainly help integrate analyses of the gradient relationality emergent in discourse and events of semiosis to the ethno-theories of social life that guide action and inform experience, now with their gradience firmly at the fore.

Úlohou predloženej práce bude zmapovať v úvodnom rozsahu subkultúru mods, ktorá pôsobila približne v rokoch 1958 až 1968 najmä vo Veľkej Británii. Mods (odvodené od modernists, v zmysle poslucháčov moderného jazzu ako Charlie Parker, Miles Davis a ako antonym trads spätých s tradíciou) boli britskou subkultúrou 60. rokov (symbol tzv. swingujúceho Londýna), ktorá sa variabilne objavovala v rozličných krajinách a pokračuje v menšej miere do súčasnosti.[2] Mods nespájal nikdy žiadny manifest, program alebo konkrétne politické pôsobenie, napriek tomu sa táto spočiatku nenápadná subkultúra stala jednou z najdôležitejších súčastí významných dejov 60. rokov. Integrujúcimi prvkami subkultúry bola jednak hudba, móda a taktiež socio-kultúrne zameranie na nižšiu (robotníci) prípadne strednú triedu. Mods symbolizovali čistotný a elegantný život v ťažkých životných podmienkach (takto mods pomenoval manažér The Who, Peter Meaden).

Graffiti från ungdomskultur till folkkultur.
Graffiti brukar ofta beskrivas som antingen ungdomskultur eller ungdomsbrottslighet. Debatten mellan dessa två olika perspektiv är polariserad och har pågått i närmare 30 år. Trots denna ofta också intensiva debatt så problematiseras sällan det som båda sidorna tar för självklart: att graffitiutövaren är en ung person och att dess antagonist kommer ur vuxengenerationen. Denna polaritet bildar ofta det ramverk genom vilket man försöker förstå hela fenomenet. 1987 menade till exempel en journalist att graffitin i tunnelbanan var "ett uttryck bland många andra för det generationskrig som rasar över hela världen" (DN 1987-12-19). 25 år senare säger ordföranden i Sollentuna ungdomsråd att "det känns ganska mycket som en generationsfråga" apropå en politisk strid om en laglig graffitivägg (Stockholms Fria 2013-10-19)

Det är inget tvivel om att ungdomar och unga vuxna är fortfarande en mycket stor del av graffitiutövarna - antagligen den största - men det kommer allt fler tecken på att det också är ett intresse som skär genom generationer. En undersökning av de som utnyttjar lagliga graffitiväggar i Helsingfors visade att den enskilt största gruppen var unga män mellan 18-25 år, och bara drygt 10% var under 17 år.

Denna artikel diskuterar hur förståelsen av graffiti som fenomen skulle påverkas om den istället för en generationskonflikt förstås som ett generationsöverskridande fenomen, liksom om hur beskrivningar om att graffitimålaren är en ungdom skulle kunna ses som ett uttryck för vad forskaren Elza Dunkel benämnt juvenism – diskriminerande och stereotypa beskrivningar av ungdomar med utgångspunkt i deras ålder.

This volume examines contemporary Eastern European youth cultures from an interdisciplinary perspective, investigating how the radical changes resulting from the demise of state Socialisms and concurrent increased globalization processes have resulted in huge challenges for young people and a reimagining of youth itself.

Queercore is a queer and punk transmedia movement that was instigated in 1980s Toronto via the pages of the underground fanzine ("zine") J.D.s. Authored by G.B. Jones and Bruce LaBruce, J.D.s. declared "civil war" on the punk and gay and lesbian mainstreams, consolidating a subculture of likeminded filmmakers, zinesters, musicans and performers situated in pointed opposition to the homophobia of mainline punk and the lifeless sexual politics and exclusionary tendencies of dominant gay and lesbian society. More than thirty years later, queercore and its troublemaking productions remain under the radar, but still culturally and politically resonant.

This book brings renewed attention to queercore, exploring the homology between queer theory/practice and punk theory/practice at the heart of queercore mediamaking. Through analysis of key queercore texts, this book also elucidates the tropes central to queercore’s subcultural distinction: unashamed sexual representation, confrontational politics and "shocking" embodiments, including those related to size, ability and gender variance. An exploration of a specific transmedia subculture grounded in archival research, ethnographic interviews, theoretical argumentation and close analysis, ultimately, Queercore proffers a provocative, and tangible, new answer to the long-debated question, "What does it mean to be queer?"

This article considers the policing of young drivers in Scotland who are known as boy racers. It outlines the ways in which the police addressed the problem of anti-social driving by youths in a built-up urban environment in the context of concern and pressure from businesses, residents, the local authority, media, and government. Policing practices were shaped by the introduction of anti-social behaviour legislation including dispersal orders and seizure of vehicles. This involved behaviours not previously seen as deviant or anti-social now being defined as such, in relation to the perceptions of local residents and businesses. The article considers the success of the use of anti-social behaviour legislation, including dispersal orders and seizure of vehicles, and the impact this had on police relations with young drivers.

Esta pesquisa investigou o impacto da Internet sobre a expansão de uma subcultura de consumo conhecida como otaku: fãs de animes e mangás, respectivamente, desenhos animados e quadrinhos japoneses. Nascida em um Japão mergulhado no hiperconsumo em 1980, hoje se tornou globalizada. Para coleta de dados, utilizou-se etnografia de mídia na comunidade virtual AnimeSpirit, entrevistas e observação participante numa convenção de otakus em Fortaleza, Brasil. A partir do pressuposto de que existe uma afinidade entre comportamento de troca de uma subcultura urbana e o avanço tecnológico das comunicações digitais, observou-se, dentre outras coisas, como cada indivíduo ou grupos podem agir como uma instituição informal de mídia, na condição de produtores autônomos de mensagens que influenciam outros atores interconectados e independentes.

This book presents a cultural history of subcultures, covering a remarkable range of subcultural forms and practices. It begins with London's 'Elizabethan underworld', taking the rogue and vagabond as subcultural prototypes: the basis for Marx's later view of subcultures as the lumpenproletariat, and Henry Mayhew's view of subcultures as 'those that will not work'. Subcultures are always in some way non-conforming or dissenting. They are social -with their own shared conventions, values, rituals, and so on -but they can also seem 'immersed' or self-absorbed. This book identifi es six key ways in which subcultures have generally been understood: