|
|
Glatz, S. (2014). Die Entstehung der Heavy Metal-Musik in China: ein musikalischer Kulturtransfer in und nach China in den 1980er-Jahren. Ph.D. thesis, Universität Wien, Vienna.
|
|
|
|
LeVine, M. (2009). Headbanging Against Repressive Regimes: Censorship of Heavy Metal in the Middle East, North Africa, Southeast Asia and China. Copenhague: Freemuse.
|
|
|
|
Wang, Y. (2015). Formation, Industries, And Identities: Observations On Extreme Metal In Mainland China 2000-2013. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 219–229). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
|
|
|
|
Wang, Y. (2016). Observations on the Chinese metal scene (1990-2013): history, identity, industry, and social interpretation. Ph.D. thesis, University of Glasgow, Glasgow.
|
|
|
|
Yiren Zhao. (2023). Metal like a hermit: Situating the “subcultural” of Chinese metal music in the Chinese context. Metal Music Studies, 9(3), 351–357.
|
|
|
|
Yiren Zhao. (2024). Hermit Aesthetics in Chinese Metal Music: Subcultural Philosophy between Confucianism and DaoismPhilosophy between Confucianism and Daoism. Scenari. Rivista di estetica e metafisica, 21, 233–254.
|
|
|
|
Zheng, Y. (2016). ”The screaming successor”: Exploring the Chinese metal scene in contemporary Chinese society (1996-2015). Ph.D. thesis, Bowling Green State University, Ohio.
|
|
