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Subbudaya (Indonesian Wikipedia)

Analysis of information sources in references of the Wikipedia article "Subbudaya" in Indonesian language version.

Last modified:

Ref.Un. Ref.Website
Global rank Indonesian rank
77worldcat.org
4th place
5th place
33google.co.id
2,404th place
25th place
11kemendikdasmen.go.id
8,195th place
82nd place
11academia.edu
105th place
107th place
11jstor.org
23rd place
38th place

academia.edu (Global: 105th place; Indonesian: 107th place)

google.co.id (Global: 2,404th place; Indonesian: 25th place)

books.google.co.id

jstor.org (Global: 23rd place; Indonesian: 38th place)

kemendikdasmen.go.id (Global: 8,195th place; Indonesian: 82nd place)

kbbi.kemendikdasmen.go.id

worldcat.org (Global: 4th place; Indonesian: 5th place)

search.worldcat.org

  • Dick 1991, hlm. 18, "Style in subculture is, then, pregnant with significance. Its transformations go ‘against nature’, interrupting the process of ‘normalization’. As such, they are gestures, movements towards a speech which offends the ‘silent majority”, which challenges the principle of unity and cohesion, which contradicts the myth of consensus. Our task becomes, like Barthes’, to discern the hidden messages inscribed in code on the glossy surfaces of style, to trace them out as ‘maps of meaning’ which obscurely re-present the very contradictions they are designed to resolve or conceal." Hebdige, Dick (1991). Subculture : the meaning of style. London: Routledge. ISBN 978-1-134-95554-1. OCLC 820719964.{{cite book}}: Pemeliharaan CS1: Status URL (link)
  • Thornton, Sarah (2013). Club Cultures : Music, Media and Subcultural Capital (dalam bahasa Inggris). Hoboken: Wiley. hlm. 29–30. ISBN 978-0-7456-6880-2. OCLC 866858661. A critical difference between subcultural capital (as I explore it) and cultural capital (as Bourdieu develops it) is that the media are a primary factor governing the circulation of the former. (...) For, within the economy of subcultural capital, the media are not simply another symbolic good or marker of distinction (which is the way Bourdieu describes films and newspapers vis-à-vis cultural capital), but a network crucial to the definition and distribution of cultural knowledge.{{cite book}}: Pemeliharaan CS1: Status URL (link)
  • Fine, Gary Alan; Kleinman, Sherryl (1979). "Rethinking Subculture: An Interactionist Analysis". American Journal of Sociology. 85 (1): 1. ISSN 0002-9602.
  • Dick 1991, hlm. 129-130, "Indeed, the succession of post-war youth styles can be represented on the formal level as a series of transformations of an initial set of items (clothes, dance, music, argot) unfolding through an internal set of polarities (mod v. rocker, skinhead v. greaser, skinhead v. hippie, punk v. hippie, ted v. punk, skinhead v. punk) and defined against a parallel series of ‘straight’ transformations (‘high’/mainstream fashion). Hebdige, Dick (1991). Subculture : the meaning of style. London: Routledge. ISBN 978-1-134-95554-1. OCLC 820719964.{{cite book}}: Pemeliharaan CS1: Status URL (link)

worldcat.org

  • Dick 1991, hlm. 18, "Style in subculture is, then, pregnant with significance. Its transformations go ‘against nature’, interrupting the process of ‘normalization’. As such, they are gestures, movements towards a speech which offends the ‘silent majority”, which challenges the principle of unity and cohesion, which contradicts the myth of consensus. Our task becomes, like Barthes’, to discern the hidden messages inscribed in code on the glossy surfaces of style, to trace them out as ‘maps of meaning’ which obscurely re-present the very contradictions they are designed to resolve or conceal." Hebdige, Dick (1991). Subculture : the meaning of style. London: Routledge. ISBN 978-1-134-95554-1. OCLC 820719964.{{cite book}}: Pemeliharaan CS1: Status URL (link)
  • Thornton, Sarah (2013). Club Cultures : Music, Media and Subcultural Capital (dalam bahasa Inggris). Hoboken: Wiley. hlm. 29–30. ISBN 978-0-7456-6880-2. OCLC 866858661. A critical difference between subcultural capital (as I explore it) and cultural capital (as Bourdieu develops it) is that the media are a primary factor governing the circulation of the former. (...) For, within the economy of subcultural capital, the media are not simply another symbolic good or marker of distinction (which is the way Bourdieu describes films and newspapers vis-à-vis cultural capital), but a network crucial to the definition and distribution of cultural knowledge.{{cite book}}: Pemeliharaan CS1: Status URL (link)
  • Dick 1991, hlm. 129-130, "Indeed, the succession of post-war youth styles can be represented on the formal level as a series of transformations of an initial set of items (clothes, dance, music, argot) unfolding through an internal set of polarities (mod v. rocker, skinhead v. greaser, skinhead v. hippie, punk v. hippie, ted v. punk, skinhead v. punk) and defined against a parallel series of ‘straight’ transformations (‘high’/mainstream fashion). Hebdige, Dick (1991). Subculture : the meaning of style. London: Routledge. ISBN 978-1-134-95554-1. OCLC 820719964.{{cite book}}: Pemeliharaan CS1: Status URL (link)