<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2182-3030</journal-id>
<journal-title><![CDATA[CIDADES, Comunidades e Territórios]]></journal-title>
<abbrev-journal-title><![CDATA[CIDADES]]></abbrev-journal-title>
<issn>2182-3030</issn>
<publisher>
<publisher-name><![CDATA[DINÂMIA'CET-IUL, Centro de Estudos sobre a Mudança Socioeconómica e o Território]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2182-30302021000300002</article-id>
<article-id pub-id-type="doi">10.15847/cct.25533</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Ultimate bias. Memorabilia, K-pop and fandom identities]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[Paula]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sousa]]></surname>
<given-names><![CDATA[Sofia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Porto Instituto de Sociologia Griffith Center for Social and Cultural Research]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade do Porto Faculdade de Letras ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>10</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>10</month>
<year>2021</year>
</pub-date>
<volume>au21</volume>
<fpage>1</fpage>
<lpage>25</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2182-30302021000300002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2182-30302021000300002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2182-30302021000300002&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article puts forward a sustained approach in the perception of the processes of construction of - individual and collective - meanings and identities in relation to the musical (sub)genre K-pop. Thus, contrary to the logic that emphasizes the loss of relevance of the CD, we tried to demonstrate that - as an object of memorabilia and musical consumption - it remains alive within the K-pop culture. In fact, not only the CD, but also other memorabilia items that emphasize the creation of visual and identity narratives, in the sense that they are seen as a means to establish, maintain and cement a relationship with the idol. Thus, in parallel to the fact that K-pop, as a musical genre, has a global character, it also highlights individual, regional and local aspects, mainly due to the variety of products that are produced, following a personalisation logic at the same time as we are facing a mass selling process. Thus, through the use of a qualitative methodology (Guerra, 2021; Pink, 2020), we intend to analyze the memorabilia items of seven Portuguese K-pop fans, in order to perceive the processes of identity creation, but also to denote the symbologies and meanings that are built around the items.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[identities]]></kwd>
<kwd lng="en"><![CDATA[fandom]]></kwd>
<kwd lng="en"><![CDATA[memorabilia]]></kwd>
<kwd lng="en"><![CDATA[K-pop]]></kwd>
<kwd lng="en"><![CDATA[music]]></kwd>
<kwd lng="en"><![CDATA[visual narratives.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Alberto]]></surname>
<given-names><![CDATA[T.P.]]></given-names>
</name>
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Nevermind...What?: memória, nostalgia e os tensionamentos possíveis entre o punk e o museu na exposição Nirvana: Taking Punk To The Masses]]></article-title>
<source><![CDATA[E-compós]]></source>
<year>2019</year>
<volume>23</volume>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Almeida]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[My Fandom Language: For Me to Know and You to Figure Out]]></article-title>
<source><![CDATA[Public Linguist]]></source>
<year>2017</year>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Appadurai]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Modernity at Large: Cultural Dimensions of Globalization]]></source>
<year>1996</year>
<publisher-loc><![CDATA[Minneapolis ]]></publisher-loc>
<publisher-name><![CDATA[University of Minnesota Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Baker]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Istvandity]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Nowak]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Curating popular music heritage: storytelling and narrative engagement in popular music museums and exhibitions]]></article-title>
<source><![CDATA[Museum Management and Curatorship]]></source>
<year>2016</year>
<volume>31</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>369-85</page-range></nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barthes]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Language of Fashion]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Sydney. Australia ]]></publisher-loc>
<publisher-name><![CDATA[Bloomsbury Publishing Pl]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Benjamin]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
</person-group>
<source><![CDATA[A obra de arte na era de sua reprodutibilidade técnica (The work of art in the age of its technical reproducibility)]]></source>
<year>1994</year>
<publisher-loc><![CDATA[São Paulo ]]></publisher-loc>
<publisher-name><![CDATA[Brasiliense]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bennett]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Rogers]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Popular Music and Materiality: Memorabilia and Memory Traces]]></article-title>
<source><![CDATA[Popular Music and Society]]></source>
<year>2016</year>
<volume>29</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>28-42</page-range></nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Blumer]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Symbolic Interactionism: Perspective and Method]]></source>
<year>1969</year>
<publisher-loc><![CDATA[Englewood Cliffs ]]></publisher-loc>
<publisher-name><![CDATA[N.J: Prentice-Hall]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bourdieu]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Distinction: A Social Critique of The Judgement of Taste]]></source>
<year>1984</year>
<publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[Routledge &amp; Kegan Paul]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chadborn]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Edwards]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Reyen]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Displaying Fan Identity to Make Friends]]></article-title>
<source><![CDATA[Intensities: The Journal of Cult Media]]></source>
<year>2017</year>
<volume>9</volume>
<page-range>87-97</page-range></nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chaíça]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[O k-pop não é coisa de miúdos]]></article-title>
<source><![CDATA[Público]]></source>
<year>2018</year>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Choi]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Value and Value Creation - Popular Music in the Digital Era: The Case of the Independent Music Industry in South Korea]]></source>
<year>2014</year>
<publisher-name><![CDATA[University of Manchester]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Choi]]></surname>
<given-names><![CDATA[J.B.]]></given-names>
</name>
<name>
<surname><![CDATA[Roald]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction: Why Fandom Matters to the International Rise of K-Pop]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Choi]]></surname>
<given-names><![CDATA[J.B.]]></given-names>
</name>
<name>
<surname><![CDATA[Roald]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Pop: The International Rise of the Korean Music Industry]]></source>
<year>2015</year>
<page-range>1-18</page-range><publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Duarte]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[O desafio de não ficarmos pela preservação do património cultural immaterial (The challenge of going beyond the preservation of intangible cultural heritage)]]></article-title>
<source><![CDATA[Actas do I Seminário de Investigação em Museologia dos Países de Língua Portuguesa e Espanhola]]></source>
<year>2014</year>
<volume>1</volume>
<page-range>41-61</page-range></nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Duffett]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Popular Music and Society]]></source>
<year>2015</year>
<volume>38</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>1-6</page-range></nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Duffett]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Understanding Fandom: An Introduction to the Study of Media Fan Culture]]></source>
<year>2013</year>
<publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Bloomsbury Academic]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fabre]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Émotions patrimoniales (Patrimonial Emotions)]]></source>
<year>2013</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Éditions de la Maison des Sciences de l&#8217;Homme]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Flew]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cultural and creative industries]]></article-title>
<source><![CDATA[Oxford Bibliographies]]></source>
<year>2017</year>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Galloway]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Musicking Fan Culture and Circulating the Materiality of Taylor Swift Musical Greeting Cards on YouTube]]></article-title>
<source><![CDATA[American Music]]></source>
<year>2020</year>
<volume>38</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>240-61</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Galuszka]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[New Economy of Fandom]]></article-title>
<source><![CDATA[Popular Music and Society]]></source>
<year>2014</year>
<volume>38</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>25-43</page-range></nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Giddens]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Modernity in Self-Identity: Self and Society in the Late Modernity Age]]></source>
<year>1991</year>
<publisher-name><![CDATA[Stanford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gill]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Post-postfeminism? New Feminist Visibilities in Postfeminist Times]]></article-title>
<source><![CDATA[Feminist. Media Studies]]></source>
<year>2016</year>
<volume>16</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>610-30</page-range></nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Godelier]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[L'Énigme du don]]></source>
<year>2008</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Flammarion]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gooch]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Communication of Fan culture: The Impacto f New Media on Science Fiction and Fantasy Fandom]]></source>
<year>2008</year>
<publisher-name><![CDATA[University of Georgia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Alberto]]></surname>
<given-names><![CDATA[T.P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Welcome to the &#8216;modern age&#8217;: The imagery of punk from the 1970s in the redefinition of the New York music scene of the 2000s and beyond]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Bestley]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Dines]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Gordon]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Trans-Global Punk Scenes. The Punk Reader]]></source>
<year>2021</year>
<volume>2</volume>
<page-range>165-78</page-range><publisher-loc><![CDATA[Bristol ]]></publisher-loc>
<publisher-name><![CDATA[Intellect]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Quintela]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Subcultura. O significado do estilo (Subculture. The meaning of style)]]></source>
<year>1979</year>
<publisher-loc><![CDATA[Lisboa ]]></publisher-loc>
<publisher-name><![CDATA[Maldoror]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[So close yet so far: DIY cultures in Portugal and Brazil]]></article-title>
<source><![CDATA[Cultural Trends]]></source>
<year>2021</year>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The song is still a &#8216;weapon&#8217;: The Portuguese identity in times of crisis]]></article-title>
<source><![CDATA[YOUNG - Nordic Journal of Youth Research]]></source>
<year>2019</year>
<page-range>1-18</page-range></nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Nothing is forever: um ensaio sobre as artes urbanas de Miguel Januário±MaisMenos± (Nothing is forever: an essay on the urban arts of Miguel Januário±MaisMenos±)]]></article-title>
<source><![CDATA[Horizontes Antropológicos]]></source>
<year>2019</year>
<volume>28</volume>
<numero>55</numero>
<issue>55</issue>
<page-range>19-49</page-range></nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Gender is Dead, Pink is 4Ever: gender, differences and popular cultures]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Leite]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Gender, difference, identities and DIY cultures]]></source>
<year>2018</year>
<page-range>1-32</page-range><publisher-loc><![CDATA[Porto ]]></publisher-loc>
<publisher-name><![CDATA[Universidade do Porto - Faculdade de Letras]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[A instável leveza do rock: génese, dinâmica e consolidação do rock alternativo em Portugal (The unstable lightness of rock: genesis, dynamics and consolidation of alternative rock in Portugal)]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Porto ]]></publisher-loc>
<publisher-name><![CDATA[Faculdade de Letras, Universidade do Porto]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Han]]></surname>
<given-names><![CDATA[B.C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Sociedade do Cansaço]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Petrópolis ]]></publisher-loc>
<publisher-name><![CDATA[Vozes]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Halbwachs]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[On collective memory]]></source>
<year>1992</year>
<publisher-loc><![CDATA[Chicago ]]></publisher-loc>
<publisher-name><![CDATA[University of Chicago Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="book">
<article-title xml:lang=""><![CDATA[Hall, S.]]></article-title>
<source><![CDATA[A identidade cultural na pós-modernidade (Cultural identity in post-modernity)]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Rio de Janeiro ]]></publisher-loc>
<publisher-name><![CDATA[DP&amp;A Editora]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Han]]></surname>
<given-names><![CDATA[A.J.]]></given-names>
</name>
</person-group>
<source><![CDATA[The aesthetics of cuteness in Korean pop music]]></source>
<year>2016</year>
<publisher-name><![CDATA[School of Media, Film and Music, University of Sussex]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Heinich]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[Des valeurs]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Gallimard]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Heinich]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The making of cultural heritage]]></article-title>
<source><![CDATA[Nordic Journal of Aesthetics]]></source>
<year>2010</year>
<volume>20</volume>
<numero>40-41</numero>
<issue>40-41</issue>
<page-range>119-28</page-range></nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hellekson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A Fannish Field of Value: Online Fan Gift Culture]]></article-title>
<source><![CDATA[Cinema Journal]]></source>
<year>2009</year>
<volume>48</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>113-8</page-range></nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jacobsen]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Kristiansen]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Goffman&#8217;s Sociology of everyday Life Interaction]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Jacobsen]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Kristiansen]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Social Thought of Erving Goffman]]></source>
<year>2016</year>
<page-range>67-84</page-range><publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[Sage Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jenkins]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Social Identity]]></source>
<year>2004</year>
<publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jenkins]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8220;Strangers no more, we sing&#8221;: Filking and the social construction of the science fiction fan community]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Lewis]]></surname>
<given-names><![CDATA[L. A.]]></given-names>
</name>
</person-group>
<source><![CDATA[The adoring audience: Fan culture and popular media]]></source>
<year>1992</year>
<page-range>208-36</page-range><publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jenol]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[K-pop Fans&#8217; Identity and The Meaning of Being a Fan]]></source>
<year>2020</year>
<publisher-name><![CDATA[University of Malaysia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jin]]></surname>
<given-names><![CDATA[D. Y.]]></given-names>
</name>
</person-group>
<source><![CDATA[New Korean Wave: Transnational Cultural Power in the age of Social Media]]></source>
<year>2016</year>
<publisher-loc><![CDATA[Urbana ]]></publisher-loc>
<publisher-name><![CDATA[University of Illinois Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jung]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Hong Kong ]]></publisher-loc>
<publisher-name><![CDATA[University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kim]]></surname>
<given-names><![CDATA[Y.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Idol Republic: the Global Emergence of Girl Industries and the Commercialization of Girl Bodies]]></article-title>
<source><![CDATA[Journal of Gender Studies]]></source>
<year>2011</year>
<volume>20</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>333-45</page-range></nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kim]]></surname>
<given-names><![CDATA[Y.M.]]></given-names>
</name>
</person-group>
<source><![CDATA[K-POP: A New Force in Pop Music]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Kore ]]></publisher-loc>
<publisher-name><![CDATA[Gil-Job-Ie]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B47">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kratz]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Reimer]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fashion in the face of postmodernity]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Berger]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Postmodern Presence: Readings on Postmodernism in American Culture and Society]]></source>
<year>1998</year>
<page-range>193-211</page-range><publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[AltaMira]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B48">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lacasa]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Prieto]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[García-Pernía]]></surname>
<given-names><![CDATA[M.R]]></given-names>
</name>
<name>
<surname><![CDATA[Cortés]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Teenagers, Fandom and Identity]]></article-title>
<source><![CDATA[Persona Studies]]></source>
<year>2017</year>
<volume>3</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>51</page-range></nlm-citation>
</ref>
<ref id="B49">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Laurie]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Towards a Gendered Aesthetics of K-pop]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Chapman]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
<name>
<surname><![CDATA[Johnson]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Globam Glam and Popular Music]]></source>
<year>2016</year>
<page-range>212-31</page-range><publisher-loc><![CDATA[New York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B50">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lévy]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[A inteligência coletiva: por uma antropologia do ciberespaço (Collective intelligence: towards an anthropology of cyberspace)]]></source>
<year>2000</year>
<publisher-loc><![CDATA[São Paulo ]]></publisher-loc>
<publisher-name><![CDATA[Loyola]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B51">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lie]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[What is the K in K-pop? South Korean popular music, the culture industry, and national identity]]></article-title>
<source><![CDATA[Korea Observer]]></source>
<year>2012</year>
<volume>43</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>339-63</page-range></nlm-citation>
</ref>
<ref id="B52">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lie]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Inghyu]]></surname>
<given-names><![CDATA[O.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[SM Entertainment and Soo Man Lee]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Yu]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Yan]]></surname>
<given-names><![CDATA[H. don]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook in East Asian Entrepreneurship]]></source>
<year>2014</year>
<page-range>346-52</page-range><publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B53">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Locke]]></surname>
<given-names><![CDATA[J.L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Conversation and Community: Chat in a virtual World]]></article-title>
<source><![CDATA[Applied Psycholinguistics]]></source>
<year>2000</year>
<volume>21</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>152-5</page-range></nlm-citation>
</ref>
<ref id="B54">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Löbert]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Penfriendhsips, Exchange Economies, and &#8220;FBs&#8221;: Take That Fans Networking before the Digital Revolution]]></article-title>
<source><![CDATA[Popular Music and Society]]></source>
<year>2014</year>
<volume>38</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>73-94</page-range></nlm-citation>
</ref>
<ref id="B55">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Manago]]></surname>
<given-names><![CDATA[A.M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Media and the Development of Identity. Emerging Trends in the Social and Behavioral Sciences]]></source>
<year>2015</year>
<page-range>1-14</page-range></nlm-citation>
</ref>
<ref id="B56">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mazur]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Um mergulho na Onda Coreana, Nostalgia e Cultura pop na série de K-drama]]></source>
<year>2018</year>
<publisher-name><![CDATA[Universidade Federal Fluminense]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B57">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McRobbie]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Aftermath of Feminism: Gender, Culture and Social Change]]></source>
<year>2009</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[SAGE]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B58">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mead]]></surname>
<given-names><![CDATA[G. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Mind, Self, and Society from the Standpoint of a Social Behaviorist]]></source>
<year>1934</year>
<publisher-loc><![CDATA[University of Chicago Press ]]></publisher-loc>
<publisher-name><![CDATA[Chicago]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B59">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oh]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
<name>
<surname><![CDATA[Lee]]></surname>
<given-names><![CDATA[H. J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[K-pop in Korea: How the Pop Music Industry is changing a Post-Development Society. Cross-Currents]]></article-title>
<source><![CDATA[East Asian History and Culture Review]]></source>
<year>2014</year>
<volume>9</volume>
<page-range>105-24</page-range></nlm-citation>
</ref>
<ref id="B60">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oh]]></surname>
<given-names><![CDATA[D.C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[K-Pop fans react: Hybridity and the White celebrity-fan on YouTube]]></article-title>
<source><![CDATA[International Journal of Communication]]></source>
<year>2017</year>
<volume>11</volume>
<page-range>2270-87</page-range></nlm-citation>
</ref>
<ref id="B61">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oliver]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Idolizing Consumption. Na Exploration of the K-pop Albums&#8217; Relevance in a Digital Age]]></source>
<year>2020</year>
<publisher-name><![CDATA[Lund University]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B62">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pink]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Doing Visual Ethnography]]></source>
<year>2020</year>
<publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[Sage Publications]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B63">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rahim]]></surname>
<given-names><![CDATA[A. A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Online Fandom: Social Identity and Social Hierarchy of Hallyu Fans]]></article-title>
<source><![CDATA[The Journal for Undergraduate Ethnography]]></source>
<year>2019</year>
<volume>9</volume>
<page-range>65-81</page-range></nlm-citation>
</ref>
<ref id="B64">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Regev]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity]]></source>
<year>2013</year>
<publisher-loc><![CDATA[UK ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge, Polity Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B65">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Riedel]]></surname>
<given-names><![CDATA[L.-A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[K-Pop as a Linguistic Phenomenon]]></article-title>
<source><![CDATA[Diggit Magazine]]></source>
<year>2020</year>
</nlm-citation>
</ref>
<ref id="B66">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Roberts]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Cohen]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Unauthorising popular music heritage: outline of a critical framework]]></article-title>
<source><![CDATA[International Journal of Heritage Studies]]></source>
<year>2014</year>
<volume>20</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>241-61</page-range></nlm-citation>
</ref>
<ref id="B67">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ryff]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Happiness is everything, or is it? Explorations on the meaning of psychological well-being]]></article-title>
<source><![CDATA[Journal of Personality and Social Psychology]]></source>
<year>1989</year>
<volume>57</volume>
<numero>6</numero>
<issue>6</issue>
<page-range>1069-81</page-range></nlm-citation>
</ref>
<ref id="B68">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Shahriari]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Popular World Music]]></source>
<year>2018</year>
<publisher-loc><![CDATA[UK ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B69">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Silva]]></surname>
<given-names><![CDATA[A.S.]]></given-names>
</name>
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[As palavras do punk]]></source>
<year>2015</year>
<publisher-loc><![CDATA[Lisboa ]]></publisher-loc>
<publisher-name><![CDATA[Alêtheia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B70">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Soompi]]></surname>
</name>
</person-group>
<source><![CDATA[Demand For Korean Language Courses Soars Due To K-Pop And Dramas, Rakuten Viki]]></source>
<year>2018</year>
</nlm-citation>
</ref>
<ref id="B71">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Stever]]></surname>
<given-names><![CDATA[G. S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Parasocial and Social Interaction with Celebrities Classification of Media Fans]]></article-title>
<source><![CDATA[Journal of Media Psychology Theories Methods and Applications]]></source>
<year>2009</year>
<volume>14</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>859-66</page-range></nlm-citation>
</ref>
<ref id="B72">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sun]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[K-pop fan labor and na alternative creative industry: A case study of GOT7 Chinese Fans]]></article-title>
<source><![CDATA[Global Media and China]]></source>
<year>2020</year>
<volume>5</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>389-406</page-range></nlm-citation>
</ref>
<ref id="B73">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Todd]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[You Are What You Buy: Postmodern Consumerism and the Construction of Self]]></article-title>
<source><![CDATA[HOHONU]]></source>
<year>2012</year>
<volume>10</volume>
<page-range>48-50</page-range></nlm-citation>
</ref>
<ref id="B74">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Turk]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fan Work: Labor, Worth, and Participation in Fandom&#8217;s Gift Economy]]></article-title>
<source><![CDATA[Transformative Works and Cultures]]></source>
<year>2014</year>
</nlm-citation>
</ref>
<ref id="B75">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Urbano]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
<name>
<surname><![CDATA[Mazur]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Araujo]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Albuquerque]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[K-pop, ativismo de fã e desobediência epistêmica: um olhar decolonial sobre os ARMYs do BTS]]></article-title>
<source><![CDATA[Logos]]></source>
<year>2020</year>
<volume>55</volume>
<numero>27(03)</numero>
<issue>27(03)</issue>
<page-range>177-94</page-range></nlm-citation>
</ref>
<ref id="B76">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vieira]]></surname>
<given-names><![CDATA[D.D.]]></given-names>
</name>
<name>
<surname><![CDATA[Brito]]></surname>
<given-names><![CDATA[L.T.A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fan Culture e Escrita de Si: Discurso, Emoção e Identidade. Composição]]></article-title>
<source><![CDATA[Revista de Ciências Sociais da UFMS]]></source>
<year>2016</year>
<volume>18</volume>
<numero>1-11</numero>
<issue>1-11</issue>
</nlm-citation>
</ref>
<ref id="B77">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Williams]]></surname>
<given-names><![CDATA[J. P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Authentic identities: Straightedge subculture, music, and the internet]]></article-title>
<source><![CDATA[Journal of Contemporary Ethnography]]></source>
<year>2006</year>
<volume>35</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>173-200</page-range></nlm-citation>
</ref>
<ref id="B78">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yoon]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Global Imagination of K-pop: Music Fans&#8217; Lived Experiences of Cultural Hybridity]]></article-title>
<source><![CDATA[Popular Music and Society]]></source>
<year>2018</year>
<volume>41</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>373-89</page-range></nlm-citation>
</ref>
</ref-list>
</back>
</article>
