本人最近仔细研究hipster文化，感觉基本上是个好现象# LeisureTime - 读书听歌看电影
l*y
1 楼
鼓励独立思考
鼓励对艺术热爱
鼓励读书
反对消费文化
不管这里面有多少是滥竽充数或者赶时髦的
最后的效果是好的
鼓励对艺术热爱
鼓励读书
反对消费文化
不管这里面有多少是滥竽充数或者赶时髦的
最后的效果是好的
l*y
2 楼
本人在芝加哥的hipster地区（logan square、pisner等）考察了几个礼拜。
【在 l*y 的大作中提到】
: 鼓励独立思考
: 鼓励对艺术热爱
: 鼓励读书
: 反对消费文化
: 不管这里面有多少是滥竽充数或者赶时髦的
: 最后的效果是好的
【在 l*y 的大作中提到】
: 鼓励独立思考
: 鼓励对艺术热爱
: 鼓励读书
: 反对消费文化
: 不管这里面有多少是滥竽充数或者赶时髦的
: 最后的效果是好的
wh
3 楼
怎么考察的？
【在 l*y 的大作中提到】
: 本人在芝加哥的hipster地区（logan square、pisner等）考察了几个礼拜。
【在 l*y 的大作中提到】
: 本人在芝加哥的hipster地区（logan square、pisner等）考察了几个礼拜。
l*y
4 楼
闲逛 咖啡馆 啤酒馆 地下演出
【在 wh 的大作中提到】
: 怎么考察的？
【在 wh 的大作中提到】
: 怎么考察的？
l*y
5 楼
The question arises: What was it about the turn-of-the-century moment that
made it so clear—as it was immediately clear—that the character had to
have this name, the hipster, which was so fraught with historical meaning?
Subculture has never had a problem with neologism or exploitation of slang,
from emo to punk to hippie. The hipster, however, was someone else already.
Specifically, he was a black subcultural figure of the late forties, best
anatomized by Anatole Broyard in an essay for the Partisan Review called “A
Portrait of the Hipster.” A decade later, the hipster had evolved into a
white subcultural figure. This hipster—and the reference here is to Norman
Mailer’s “The White Negro” essay for Dissent in 1957—was explicitly
defined by the desire of a white avant-garde to disaffiliate itself from
whiteness, with its stain of Eisenhower, the bomb, and the corporation, and
achieve the “cool” knowledge and exoticized energy, lust, and violence of
black Americans. (Hippie itself was originally an insulting diminutive of
hipster, a jab at the sloppy kids who hung around North Beach or Greenwich
Village after 1960 and didn’t care about jazz or poetry, only drugs and fun
.)
The hipster, in both black and white incarnations, in his essence had been
about superior knowledge—what Broyard called “a priorism.” He insisted
that hipsterism was developed from a sense that minorities in America were
subject to decisions made about their lives by conspiracies of power they
could never possibly know. The hip reaction was to insist, purely
symbolically, on forms of knowledge that they possessed before anyone else,
indeed before the creation of positive knowledge—a priori. Broyard focused
on the password language of hip slang.
【在 l*y 的大作中提到】
: 闲逛 咖啡馆 啤酒馆 地下演出
made it so clear—as it was immediately clear—that the character had to
have this name, the hipster, which was so fraught with historical meaning?
Subculture has never had a problem with neologism or exploitation of slang,
from emo to punk to hippie. The hipster, however, was someone else already.
Specifically, he was a black subcultural figure of the late forties, best
anatomized by Anatole Broyard in an essay for the Partisan Review called “A
Portrait of the Hipster.” A decade later, the hipster had evolved into a
white subcultural figure. This hipster—and the reference here is to Norman
Mailer’s “The White Negro” essay for Dissent in 1957—was explicitly
defined by the desire of a white avant-garde to disaffiliate itself from
whiteness, with its stain of Eisenhower, the bomb, and the corporation, and
achieve the “cool” knowledge and exoticized energy, lust, and violence of
black Americans. (Hippie itself was originally an insulting diminutive of
hipster, a jab at the sloppy kids who hung around North Beach or Greenwich
Village after 1960 and didn’t care about jazz or poetry, only drugs and fun
.)
The hipster, in both black and white incarnations, in his essence had been
about superior knowledge—what Broyard called “a priorism.” He insisted
that hipsterism was developed from a sense that minorities in America were
subject to decisions made about their lives by conspiracies of power they
could never possibly know. The hip reaction was to insist, purely
symbolically, on forms of knowledge that they possessed before anyone else,
indeed before the creation of positive knowledge—a priori. Broyard focused
on the password language of hip slang.
【在 l*y 的大作中提到】
: 闲逛 咖啡馆 啤酒馆 地下演出
l*y
6 楼
基本上可以说
hipster是白人中的黑人！
我则是中国人中的黑人！
,
.
“A
Norman
【在 l*y 的大作中提到】
: The question arises: What was it about the turn-of-the-century moment that
: made it so clear—as it was immediately clear—that the character had to
: have this name, the hipster, which was so fraught with historical meaning?
: Subculture has never had a problem with neologism or exploitation of slang,
: from emo to punk to hippie. The hipster, however, was someone else already.
: Specifically, he was a black subcultural figure of the late forties, best
: anatomized by Anatole Broyard in an essay for the Partisan Review called “A
: Portrait of the Hipster.” A decade later, the hipster had evolved into a
: white subcultural figure. This hipster—and the reference here is to Norman
: Mailer’s “The White Negro” essay for Dissent in 1957—was explicitly
hipster是白人中的黑人！
我则是中国人中的黑人！
,
.
“A
Norman
【在 l*y 的大作中提到】
: The question arises: What was it about the turn-of-the-century moment that
: made it so clear—as it was immediately clear—that the character had to
: have this name, the hipster, which was so fraught with historical meaning?
: Subculture has never had a problem with neologism or exploitation of slang,
: from emo to punk to hippie. The hipster, however, was someone else already.
: Specifically, he was a black subcultural figure of the late forties, best
: anatomized by Anatole Broyard in an essay for the Partisan Review called “A
: Portrait of the Hipster.” A decade later, the hipster had evolved into a
: white subcultural figure. This hipster—and the reference here is to Norman
: Mailer’s “The White Negro” essay for Dissent in 1957—was explicitly
h*i
7 楼
你秀一下肌肉
没有肌肉还是不要扯着个蛋
【在 l*y 的大作中提到】
: 基本上可以说
: hipster是白人中的黑人！
: 我则是中国人中的黑人！
:
: ,
: .
: “A
: Norman
没有肌肉还是不要扯着个蛋
【在 l*y 的大作中提到】
: 基本上可以说
: hipster是白人中的黑人！
: 我则是中国人中的黑人！
:
: ,
: .
: “A
: Norman
相关阅读