East Asian Men 2016
DOI: 10.1057/978-1-137-55634-9_13
|View full text |Cite
|
Sign up to set email alerts
|

Beyond the Celebration of Losers: The Construction of diaosi Masculinity in Contemporary Chinese Youth Culture

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
2
0

Year Published

2023
2023
2024
2024

Publication Types

Select...
3

Relationship

0
3

Authors

Journals

citations
Cited by 3 publications
(2 citation statements)
references
References 9 publications
0
2
0
Order By: Relevance
“…Along with the prevalence of feminism, the backlash against it is becoming more and more pronounced on Chinese social media (e.g., Cao & Xu, 2015;Hong, 2016). Initially, the antifeminist discourses present online caught our attention with a buzzword, "rural feminism" (tian yuan nv quan), which is often used to derogate feminist ideas and practices.…”
Section: Introductionmentioning
confidence: 99%
“…Along with the prevalence of feminism, the backlash against it is becoming more and more pronounced on Chinese social media (e.g., Cao & Xu, 2015;Hong, 2016). Initially, the antifeminist discourses present online caught our attention with a buzzword, "rural feminism" (tian yuan nv quan), which is often used to derogate feminist ideas and practices.…”
Section: Introductionmentioning
confidence: 99%
“…Last but not least, as Spivak (1990) argues, if the subaltern can to some extent express themselves despite limited space and resources, they are partially incorporated into the hegemony by at least being heard, though in most cases imprecisely. For example, some members of the subaltern, particularly the rural migrant workers, never give up trying to "talk back" to the structures of power that erase or distort their subjectivities and realities by writing poems (Sun, 2010), creating documentaries (Sun, 2014), dressing with hairstyles and make-up that are inconsistent with mainstream aesthetic values (Sun & Qiu, 2015), mocking themselves as "pubic hair" (diaosi, which figuratively means "losers") (Cao 2017;Sum, 2017;Szablewicz, 2014;Witteborn & Huang, 2015), or expressing their frustrations through user-generated rap videos on specific platforms (Hou, 2021). Notably, when these various cultural practices may generate collective consciousness and mutual interaction among the subalterns themselves, they often trigger denunciations among the upper and middle class for being identified as morally and aesthetically problematic (Hou 2020), thus reinforcing the subaltern as both a position and a process of becoming the inferior and marginal other in China today.…”
mentioning
confidence: 99%