阿啵呲嘚-
次文化(亚文化)
次文化在社会学中，是指在某个较大的母文化中，拥有不同行为和信仰的较小的文化
或一群人，亦称亚文化。次文化和其他社会团体之间的差别，在于他们有意识自己的
服装、音乐或其他兴趣是与众不同的。早在1950年大卫·雷斯曼（David Riesman）就
提出大众和次文化的差别，并且将次文化诠释为具有颠覆精神。大众是“消极地接受了
商业所给予的风格和价值”的人，而次文化则“积极地寻求一种小众的风格（在当时为
热爵士乐）”。于是“听众……操控了产品（因此也操控了生产者），就如同产品操控了
听众一般”（Riesman 1950: 361）。
因此，当一个次文化成员“即使没有任何其他人在场，也会聆听某种音乐时，他是在一种
想像‘他人"在场的脉络下聆听音乐的——他聆听音乐常常是为了要去和那些‘他人"建立起
关系。他对大众媒体的观感受到他所隶属的同侪团体所形塑。这些团体不只是在为音乐
分高低而已，他们是以一种更细腻的方式，在为团体中的成员选择他们会在音乐中‘听到
"些什么。（ibid: 366）”
一个文化通常包含了很多个次文化。次文化和其母文化有很大一部分是结合在一起的，
然而在某些特别的面向上，两者之间就会有极端的差别。某些次文化的差异在到达了
某个程度以后，会拥有自己的名字。
Dick Hebidge（1981）使用“风格”这个词汇，来表示次文化的流行、态度、暗语、活动、
音乐和兴趣。次文化风格与主流风格不同的地方在于，次文化风格是刻意被“罗织”（fabricate）
出来的，带有“被建构性”，不同于主流风格的传统性。
PS：大家所熟悉的PUNK(朋克)就属于亚文化。PUNK最强调点之一就是不能流行，
但本身还是流行了。地下的东西始终是为了走出地面，在野党始终是为了成为执政党。
subculture
For the term in biology, please see Subculture (biology).
As understood in sociology, a subculture is a set of people with a distinct set of behavior and beliefs that differentiate them from a larger culture as a whole of which they are a part of. The subculture may be distinctive because of the age of its members, or by their race, ethnicity, class and/or gender, and the qualities that determine a subculture as distinct may be aesthetic, religious, political, and sexual or a combination of these factors. Subcultures are often defined via their opposition to the values of the larger culture to which they belong, although this definition is not universally agreed on by theorists. Members of a subculture will often signal their membership through a distinctive and symbolic use of style. Therefore, the study of subculture often consists of the study of the symbolism attached to clothing, music and other visible affectations by members of the subculture, and also the ways in which these same symbols are interpreted by members of the dominant culture. If the subculture is characterized by a systematic opposition to the dominant culture, then it may be described as a counterculture.
More simply, subcultures are groups of individuals who, through a variety of methods (conspicuous clothing and ostentatious behavior), present themselves in opposition to the mainstream trends of the mainstream culture that they are a part of. It may also be difficult to identify subcultures because their style (particularly clothing and music) may often be adopted by mass culture for commercial purposes, as businesses will often seek to capitalize on the subversive allure of the subculture in search of cool, which remains valuable in selling any product. This process of cultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles which are alien to the mainstream.
A common example is the punk subculture of the United Kingdom, whose distinctive (and initially shocking) style of clothing was swiftly adopted by mass-market fashion companies once the subculture became a media interest. In this sense, many subcultures can be seen to be constantly evolving, as their members attempt to remain one step ahead of the dominant culture. In turn, this cyclical process provides a constant stream of styles and ideas which can be commercially adopted by the mainstream culture.
Subcultures resisting commercialization
Sometimes styles (particularly clothing and music) of a particular subculture are adopted by mass culture for commercial purposes, Businesses will often seek to capitalise on the subversive allure of subcultures in search of cool. Music-based subcultures are particularly vulnerable to this process, and so what may be considered a subculture at one stage in its history — such as jazz, punk, hip hop and rave cultures — may represent mainstream taste within a short period of time.
This process of cultural appropriation may often result in the death or evolution of a subculture, as its members adopt new styles which are alien to the mainstream. Many subcultures can be seen to be constantly evolving, as their members attempt to remain one step ahead of the dominant culture. In turn, this process provides a constant stream of styles which may be commercially adopted. 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.
References
Hebdige, Dick (1979). (Routledge, March 10, 1981; softcover ISBN 0-415-03949-5). Cited in Negus (1996).
Middleton, Richard (1990/2002). Studying Popular Music, p.155. Philadelphia: Open University Press. ISBN 0-335-15275-9.
Negus, Keith (1996). Popular Music in Theory: An Introduction. Wesleyan University Press. ISBN 0-8195-6310-2.
Riesman, David (1950). "Listening to popular music", American Quarterly, 2, p.359-71. Cited in Middleton (1990/2002).
Roe, K. (1990). "Adolescents" Music Use", Popular Music Research. Sweden: Nordicom. Cited in Negus (1996).
Kaminski, Marek M. (2004). Games Prisoners Play Princeton University Press. ISBN 0-691-11721-7. http://webfiles.uci.edu/mkaminsk/www/book.html
Thornton, Sarah (1995). Club Cultures: Music, Media, and Subcultural Capital. Cambridge: Polity Press. Cited in Negus (1996).
Brodsky, Sasha (1994) "Punk and the Aesthetics of American Dystopia." , Department of the Comparative History of Ideas. University of Washington. http://depts.washington.edu/chid/intersections.php?article=1994e
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.
Appadurai, Arjun (2003) Disjuncture and Difference in the Global Economy
**由于这个名词源于西方，所以定义更偏向西方文化。
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