Course:ASIA319/2024/"Face Stick" (贴脸)

From UBC Wiki

Introduction

Tieliantitle.png

The term “贴脸” (literally, “Face Stick”) has evolved from its original meaning to become an online slang term that captures social tensions and boundary re-negotiations faced by Chinese youth. This inquiry examines the term’s varied applications across gaming, internet memes, and social commentary, illustrating how it has come to symbolize intrusive or overly familiar behaviour in both digital and physical spaces.

This project begins by tracing the origin and evolution of “贴脸” and examining its dictionary meanings. It then explores the term’s diverse interpretations, applications, and implications within Chinese online popular culture, including transcultural comparisons. Next, the project addresses the social, cultural, and political issues that “贴脸” reflects in contemporary Chinese society. Relevant studies are reviewed to contextualize “贴脸” within broader phenomena of online behaviour and identity. Finally, the conclusion synthesizes these insights, with references offering additional sources for further exploration.

Examining “贴脸” is essential because it reflects the unique ways in which Chinese youth, particularly Generation Z, navigate societal challenges, peer pressures, and individual boundaries from both online and offline communities. This Wiki page sheds light on these evolving dynamics, providing insights into the social, cultural, and political landscape of modern China.

The genesis of the keyword

“贴脸,” originally meaning “face-to-face,” with the literal translation of “face stick,” has evolved online to denote intrusive or overly familiar behaviour, reflecting the social boundary challenges that young people face.[1] Initially used in Werewolf to describe irrational outbursts,[2] it later referenced close-range reckless tactics in esports[3] and deep emotional involvement in Otome games[4]. Now, as part of meme culture, “贴脸” humorously symbolizes modern social pressures.

As “贴脸” has become embedded in meme culture, it aligns with trends in online humour and satire. Scholars note that the term “text-meme” in Chinese, derived from a misinterpretation of the comedic term “哏” in traditional Chinese comedy (相声), possesses a postmodern aspect of parody.[5] Its popularity relies on repeated mimicry and reinterpretation, a process Baudrillard described as “simulacrum proliferation,” where the meme undergoes continuous recontextualization, becoming a classic in its own right.[5]

Why has “贴脸 (face stick)” become popular in recent years, especially since 2022? From a technological perspective, meme culture, represented by terms like “贴脸,” is inseparable from UGC (user-generated content) platforms. The interactive and low-threshold nature of social media allows users to create symbols based on their own experiences, resonating with others sharing similar backgrounds and facilitating viral replication.[6] When a meme gains traction online, social imitation encourages users’ engagement, broadening its influence.

Culturally, the spread of memes can be attributed to the reinterpretation of established symbols, catering to the modern youth’s desire for novelty and distinction. For instance, “贴脸开大” exemplifies how existing language is adapted through reconfiguration and coding to convey new meanings.[7] Moreover, the spread of the “贴脸” reflects mechanisms of identity formation. Primarily, memes circulated within the ACG (anime, comics, games) subculture community, functioning as symbols of identity and establishing in-group belonging and out-group exclusion.[5] However, once a meme breaks out of its original niche, it is adopted broadly and becomes popular, reaching the general public.[5]

In other words, “贴脸,” crossing over three main gaming contexts, has become part of the collective unconscious among younger netizens, especially Gen Z. Today, “贴脸” denotes overly intrusive behaviour, humorously reflecting the pressures young people face in navigating social boundaries in digital and physical spaces. Through the text-meme’s flexibility, young internet users creatively reframe the classic symbol of “face (面子)” in Chinese culture for parody. This trend prompts new social, political, and cultural discussions, which will be explored in the following sections.

Glossary of its explicit dictionary meanings

Philological and Etymological Roots 贴 and 脸

Explanation of "贴" and "脸".

The word 贴脸 is a compound of 贴 (tiē) [8] and 脸 (liǎn).[9] For the Chinese character 贴, the radical (bushou 部首) of 贴 is 贝 (bèi shells), which connects it to money, as shells were used as currency in ancient times.  According to Shuowen Jiezi (说文解字), 贴 means “using objects as collateral,” formed with the radical 贝 (shell/money) and the phonetic element 占 (以物为质也。从贝占声).[10] Originally, 贴 was used as a verb, meaning to pawn items in exchange for money. Now, as part of meme culture, “贴脸” humorously symbolizes modern social pressures.

Compared to the Chinese character 贴, 脸 appears later as the variation of the 頰 (jiá). Based on the analysis of 頰 in Shuowen Jiezi, 頰 is a semantic-phonetic compound character (Xinshengzi 形声字), which consists of the semantic sign 頁 with the same pronunciation as the phonetic sign 夾.[11] The signified of 頁 is the human head, and 頰 is the signifier of the cheeks, as part of the face. Later, 脸 represents the word 頰 while combing with the new meaning of face.

General and Variable Usages

Based on the original meaning of 贴 as pawning items, 贴 has the new derivative implication of filling a gap. Furthermore, it evolved to include the new meaning of pasting, as in attaching thin objects to a surface with glue, carrying a meaning of closeness. Since thin objects are pasted flat, the term is also related to compliance and obedience.[12]

The character 脸 also has the derivative meanings of facial expressions and the front part of an object. Beyond referring to a physical elements, 脸 is also given abstract meanings linked to dignity, reputation, and interpersonal relationships. For instance, 丢脸 (lose face) implies damaging the reputation of a person, family, or organization.[13]

When 贴 and 脸 is composed together, 贴 represents closeness and 脸 means face. So 贴脸 is used to refer two people’s faces are placed very close.

An elaboration of its variegated meanings, actual usages, and value-loaded implications

贴脸 used for a commentary on an esports match between the teams Navi and Virtus.Pro in Counter-Strike 2

Everyday Usage and Cultural Contexts of “贴脸”

The term “贴脸” literally means “face stick”. However, as it gained popularity online, it took on new meanings across various contexts. The first usage originated from the game Werewolf, where “贴脸” refers to emotional responses that lack logical analysis, provoking annoyance or conflict among other players.[2] This meaning later extended to everyday life, which now describes irrational, emotional outbursts.

In a second context, from esports, “贴脸开大” describes a reckless tactic of using a “big move” or ultimate skill at very close range to the opponent, often implying a bold or even reckless attitude.[3] This expression was later adopted on social platforms to describe overly familiar or even intrusive behaviours, often as humorous commentary.[3] This term conveys a similar confrontational or bold attitude, often disregarding others’ personal space or comfort. Like “贴脸,” it implies directness and assertiveness that can come across as intrusive, especially in social interactions.

A third context is from otome games (乙女游戏), romance simulation games aimed at female players (识微科技), where “贴脸” refers to players’ intense emotional involvement with virtual characters, to the extent that they feel deeply immersed in the game.[4]

In the fourth context, “贴脸” is used to describe the re-created characters in fan fiction, which means the same characters written by the fans share similar personalities with those in the source text.[14]

“贴脸” in these three contexts has circulated widely within certain subcultures, eventually merging into the text “meme culture” as an emerging online language symbol. Now in everyday life, “贴脸” denotes overly intrusive behaviour, humorously reflecting the pressures young people face in navigating social boundaries in digital and physical spaces.

A Shared Body of Related Words for “贴脸”

In everyday online discussions, “贴脸” has accumulated a range of associated terms that convey similar or contrasting ideas, reflecting its diverse use in Chinese popular culture. Synonyms often include words such as 冲突 (conflict),[15] 冒犯 (offense),[16] and 直接 (directness),[17] which align with the confrontational or impulsive nature implied by “贴脸”.[3] Hypernyms like 互动 (interaction)[18] and 社交 (socializing)[19] provide broader contexts, as “贴脸” often occurs within these social interactions, both in gaming and online forums.

Antonyms commonly include 礼貌 (politeness)[20] and 边界感 (sense of boundary),[21] suggesting behaviours that are more reserved or considerate.[3] Collectively, these words and concepts, emerging from Chinese popular culture and online discussions, illustrate how “贴脸” manifests the tension between boldness and social decorum in digital and physical spaces.

Cross-Cultural Parallels of  “贴脸”

The two most relevant counterparts to “贴脸” in English are In-Your-Face and Oversharing.

In-Your-Face (English): means “Someone who has an in-your-face attitude seems determined to behave in a way that is unusual or shocking, and does not care what people think of them.”[22] This term conveys a similar confrontational or bold attitude, often disregarding others’ personal space or comfort. Like “贴脸,” it implies directness and assertiveness that can come across as intrusive, especially in social interactions.

Oversharing (English): means “to tell people too much personal information about yourself.”[23] This term captures the idea of crossing boundaries by sharing too much, often intruding into others’ comfort zones, particularly online. Similar to “贴脸,” “oversharing” reflects behavior that can feel invasive or lacking in social restraint, commonly seen in digital interactions.

Diverse Implications of  “贴脸”

Splitting the phrase 贴脸 apart, the dictionary definition of 贴 relating to the pawning of good for money most likely bears no relation to contemporary China’s current use of the phrase. On the other hand, 脸 referring to the face of a person may have some connections to 贴脸 of modern China, where 丢脸, meaning the defaming of a person or family’s reputation can also be seen in the current use of 贴脸, which describes disrespectful behavior online and by acting in such a manner can damage one’s reputation in online discussion.

Cross-Cultural Migration of “贴脸”

When comparing “贴脸” with its literal translation, “face stick”, to the English counterpart, “face-to-face”, few similarities emerge between the two. In Western contexts, “face-to-face” is typically used to contrast physical communication with virtual interactions: in their comparison of computer-mediated and in-person communication.[24] In contrast, the Chinese term “贴脸” carries a deeper connotation of boundary-crossing behavior, highlighting social dynamics that extend beyond simple physical proximity.

This potentially has connection to China’s  “贴脸” as the phrase is mostly seen in discussions online, however the English version lacks any rude or negative meaning that the Chinese equivalent does. This lack of equivalency between translations can be attributed to  slang being built up and tied to the country of origin’s culture echo this conjecture when talking about American slang stating that it is the product of American culture.[25]

The video game, Among Us, where the slang "Sus" was initially utilized.

“Sus”

While the literal translation of 贴脸 to English may lack connections to the term, the meaning of it does have similar Western online slang. When thinking of the initial use of 贴脸 in Werewolf, the slang word “Sus” (Merriam-Webster Wordplay), short for suspicious, also originates from a social-deduction game called Among Us. As the goal of the game is to locate who the “Imposter” is among “Crewmates”, players have used the word “Sus” as a way to call other individuals who act in a manner that an imposter would, whether that be illogical reasoning or emotional outbursts when being accused. Similar to “贴脸”, the word has seen use outside of the game in the internet and even in-person among teens.[26]

“Troll”

The more general meaning of 贴脸 can also be tied to the Western internet slang “Troll”. Originally referring to an unappealing mythical creature, the term “Troll” has taken on a new meaning on the internet, mainly used as a word to describe someone who acts annoying and insulting towards others online.[27] The two words are similar in the fact that they are used when a person is being unreasonable or toxic in online discussion or communication.

In essence, the evolution of “贴脸” and its Western counterparts like “Sus” and “Troll” highlights how cultural values shape online language. While each term originated in a specific context -whether in games or digital forums- they all reflect a shared global experience of navigating social boundaries and confrontational behaviors in online spaces. This compares the dynamic nature of slang as it crosses cultural boundaries, adapting unique meanings that resonate within different social landscapes.

In Character “IC”

“IC” is an abbreviation that stands for “In Character”, a term in the context of roleplay games [28], which describes players who are in complete roleplaying mode, channeling their characters. “IC” shares the same meaning with “贴脸” in Chinese fan fiction, and later is not only used in context of games, but also in Western fan fiction.[29]

Social, cultural, and political problems

Greene and Schmid (2024) identify functions of text-memes like “贴脸”—phatic, indexical, and social—which makes memes to serve as markers of online identity and shared cultural knowledge.[30] Meanwhile, the narrative and therapeutic functions of text-memes allow young people to emotionally distance themselves from social pressures, using humour to critique the very norms they feel compelled to uphold.[30] The widespread use of “贴脸” reflects emotions, particularly among Gen Z, as it signifies overly close or intrusive behaviour that mirrors the pressures young people face in managing social boundaries, humorously critiquing the sometimes uncomfortable proximity in both digital and physical spaces.

A humorous post on Xiao Hong Shu advocating for respect in online interactions.

At its core, “贴脸” emphasizes traditional expectations surrounding “face” (面子). The basic meaning of “face” (脸) in China refers to the self-image that individuals display according to the behavioural standards accepted by their social circle, such as moral codes, etiquette, social customs, local traditions, and even rules within certain groups.[31] More importantly, applying the lens of Iconography and Iconology—typically used to analyze traditional visual culture—can offer new insights into “贴脸”. Iconography focuses on accurate identification and personification, as seen in the meaning of “脸 (face)”, while Iconology interprets the artwork of text-meme “贴脸” as a unified whole, viewing it as a historical document that reflects the culture or civilization it represents.[32] Through this lens, the “贴脸” text meme showcases an exaggerated focus on 脸 or “face,” by emphasizing 贴 (sticking), intensifying the frustrations and discontent of younger generations toward aspects of Chinese society.

Surveillance Society

In a society where the boundaries between public and private life are increasingly blurred by state surveillance, “贴脸” has become a way for Gen Z to satirize the lack of personal space. During the pandemic, China extensively implemented surveillance measures, including health codes and facial recognition technology, to monitor citizens,[33] which has impacted Gen Z’s sense and imagination of space and distance. According to Paul Mozur, this surveillance system operates on a “new social contract” in which individual data is exchanged for governance aimed at enhancing public safety.[34] In this case, “贴脸” might also be used ironically to critique a society that feels uncomfortably close and intrusive, as young people experience pressure to conform within a heavily monitored environment. By using “贴脸,” Gen Z humorously voices their discomfort with these close distance, indirectly pushing back against the state’s pervasive reach and advocating for more autonomy and personal space.

Competitive Culture

Furthermore, in China’s hyper-competitive society, “贴脸” is now used by Gen Z to satirize the relentless pressure to achieve academic and professional success. As Fortune notes, China’s Gen Z faces “involution”—a stagnant cycle of effort without progress—where success feels increasingly out of reach despite hard work.[35] The pandemic and subsequent economic downturn have deeply impacted “post-’00s” graduates, who were once optimistic about their futures.[36] Many young people are expected to attend top schools, secure prestigious jobs, and own property, yet the economic slowdown and rising unemployment make these goals difficult to attain.[37] In response, other text memes like “lying flat” (躺平) and “let it rot” (摆烂) have emerged, signaling a collective rejection of hyper-competitive culture.[38] Similarly, by using “贴脸” to highlight the suffocating, “in-your-face” nature of societal expectations, Gen Z ironically pushes back against rigid success standards imposed by others, subtly asserting their desire to escape these peer pressures.

Collective Politics

Students of Zhengzhou University flood a job fair.

Finally, the popularity of text-memes like “贴脸” may also uncover a symptom of prioritizing collective goals over individual needs, particularly as it relates to personal autonomy under Xi Jinping’s “Chinese Dream” policy.[39] Promoting values of national strength and collective prosperity, the “Chinese Dream” encourages young people to embrace hard work and sacrifice for the greater good, often urging them to take on blue-collar jobs or endure hardship, known as eating “bitterness”.[38] Many Gen Z individuals see this emphasis on collective ideals as intrusive and stifling, feeling pressured to conform at the expense of personal growth and self-expression. On platforms like Little Red Book, users employ "贴脸" to humorously critique the pressure to conform to collective standards, highlighting their discomfort with imposed societal values and advocating for personal choice.

In these ways, “贴脸” serves as a tool for satire and criticism among China’s younger generation. By leveraging this term across multiple contexts, they reveal their frustration with societal restrictions, competitive pressures, and collective obligations, reclaiming “face” as a humorous but pointed critique of their lived reality.

Studies related to the phenomena of Face Stick (贴脸)

Werewolf and Discourse Power

Players’ emotional responses as “Face Stick” behaviors in Werewolf can be seen as a way to compete for discourse power.[40] Since each player’s game position is unknown, the players defined as “human” should find out all the “werewolf” players to win. Communication becomes the most valuable way for exchanging information resources, which players use to gain discourse power and advance their team’s interests.[40] During the game, players continuously filter the information they receive, deliberately highlighting information that aligns with their interests while concealing or ignoring information that is useless to them. Therefore, logical judgment of information and discourse strategies become important methods of interaction and winning. The game of Werewolf establishes a public discourse space where players participate equally, and individual discourse power is effectively guaranteed, influencing public decisions through the debate of evidence. Adhering to the principle of rational analysis, players strengthen their own logic by negating the logic of others, and speak for the survival of the community. However, sophistry, deceit, slander, lies, defamation, and even emotional responses—all forms of communication that do not conform to the rules—hold power in the construction of authority.[40]

Hypertext: In Character “IC” and Out of Character “OOC” in fan fiction

In Character “IC” is a popular word in the Western fan fiction context with a similar meaning to “Face Stick” 贴脸. Out of Character “OOC” is the antonym of “IC”. [29]

Fanfic authors comment on and transform the canon [41] through switched narrative perspectives, altered romantic combinations of characters, expansions of minor characters or scenes. When rewriting the canon, the fanfic author offers possible understandings of plot and characterization, rooting in an individual interpretation of the pre-existing characters. Although a work of fan fiction emphasizes on the fandom’s collective interpretation, it must also be in constant dialogue with the canon’s characters.[41]

Fan fiction can be recognized as “hypertext” through Genette’s interpretation of the relationship between the “hypertext” and “hypotext”. Hypertext is grafted onto the “hypotext”, “an earlier text”, which can be more or less obscured in appro-private writings.[42] The canon as “hypotext” and overt precursor both demands and allows particular forms of individual and collective empowerment as fanfic authors wrestle control away from canon authors. Fan fiction can be seen as a desire to profoundly subvert the messages in the canon text, and creative freedom inherent in reduction, amplification, and trans-motivization may take fanfics in considerably different directions than the canon. Meanwhile, to avoid OOC that may cause the stories to become original fiction instead of fan fiction, points of contact need to remain, such as the character’s personality traits in original text.[42] Nevertheless, some fan fiction authors can also accept the occurrence of OOC for the sake of the logic of the work and explain their reasons in the beginning part of author’s note, deflecting potential criticism of the OOC. Each fan fiction illustrates a mix between fidelity and resistance of “hypertext” to the “hypotext”.[42]

Face culture in China

贴脸 contains the Chinese character “脸” (face), which can be associated with the “face” culture (面子文化) in China. 贴脸 underscores traditional expectations surrounding “face” (面子)[31]: the basic meaning of “face” (脸) in China refers to the self-image that an individual displays according to the behavioral standards accepted by their social circle, such as moral codes, etiquette, social customs, local traditions, and even rules within certain groups. Once this self-image is presented, it naturally receives reactions, comments, and evaluations from members of that social circle.[31] The face culture is closely related to the “relation” (guanxi 关系) concept, that is, people share their goods, wealth, status, power, and other meanings with others who are considered to be in the same group, like family members, friends, and cooperators. By providing material resources or flattery and praise, people build relationships with more individuals from different groups, which is called “giving face” (shanglian 赏脸). During social activities, they affirm, admire, appreciate, respect, or admire other people’s success and virtue, manifesting “giving face” through recognition of social rules -- to acknowledge the importance of others.[31]

The Text-memes and Generation-Z Internet Users

The memes are cultural material that transfer across generations and among populations trends, like catchphrases, social norms, beliefs, and so on.[30] Text-memes like 贴脸 - phatic, indexical, and social—which allow memes to serve as markers of online identity and shared cultural knowledge. Meanwhile, the narrative and therapeutic functions of text-memes allow young people to emotionally distance themselves from social pressures, using humor to critique the very norms they feel compelled to uphold.[30] Additionally, text-memes deconstruct the existing rules of symbols and language, and reconstruct new signified meanings.[7] This greatly satisfies the generation-Z internet users’ desire for novelty and difference. A humorous effect formed by adapting the original meaning of words through association and imagination, which greatly satisfies the generation-Z internet users’ desire for novelty and individuality.[7]

Rudeness and Disrespect in Online Discussion

As the general internet continues to embrace the phrase 贴脸, the notion of impoliteness embeds itself into its meaning and the growing popularity of the word can be attributed to anonymity provided by the internet. Maia et al. (2016) provides reasoning behind this when they researched disrespect in online political talks across social platforms.[43] They find that in online spaces, far more signs of disrespect and profanity were seen due to the anonymous nature of internet conversations. Social platforms like YouTube, Facebook and various blogs were seen to have high rates of profanity with YouTube having 75.5% of the partaking commenters using foul language.[43] The advantage of the online space is that it allows for discussion and discourse between individuals with varying backgrounds and perspectives, however the distance between users gives people a sense of security, allowing them to more adamantly and potentially rudely pushing the points they wish to make. With this phenomenon of increased disrespect in online conversations, 贴脸 has been given more opportunities to be used by Chinese netizens.

Conclusion

In conclusion, the term “贴脸” embodies more than just a shift in language; it reflects the complex social dynamics, cultural pressures, and even political challenges experienced by young people in China today. Initially rooted in gaming, “贴脸” has expanded into a meaningful symbol for expressing frustrations around personal boundaries, societal expectations, and collective values. By analyzing this term through cross-cultural comparisons as well as Iconography and Iconology framework, this paper demonstrate how “贴脸” acts as a vivid reflection of Gen Z’s desire for autonomy in a rapidly evolving, hyper-connected society.

Future research could delve into how terms like “贴脸” continue to evolve within digital subcultures, examining how slang not only responds to but also actively shapes cultural shifts. Additionally, exploring similar terms across diverse demographic groups, such as age or gender, could yield deeper insights into the role of language in navigating identity and social boundaries.

References

  1. ↑ 汉典. “贴脸.” Accessed November 2, 2024. https://www.zdic.net/hans/%E8%B4%B4%E8%84%B8.
  2. ↑ 2.0 2.1 NTET.cn. “什么是贴脸？揭示其独特的社交互动方式.” Accessed November 2, 2024. https://m.ntet.cn/article/20354.html.
  3. ↑ 3.0 3.1 3.2 3.3 3.4 百度百科. “贴脸开大.” Accessed November 2, 2024. https://baike.baidu.com/item/%E8%B4%B4%E8%84%B8%E5%BC%80%E5%A4%A7/64653752
  4. ↑ 4.0 4.1 Q88Q.net. “贴脸是什么意思网络用语？” Accessed November 2, 2024. http://www.q88q.net/ecy/94773.html.
  5. ↑ 5.0 5.1 5.2 5.3 Chen, Runting 陈润庭 (2021). ""为了欢愉的徽章——论'梗文化'中的身份意识."". 创作评谭. 2: 24–27. ISSN 1005-796X.
  6. ↑ Liao 廖, Siqi 思琪 (2023). "网络"梗"文化在社交互动中的传播逻辑"". 新媒体研究. 21: 12–15. ISSN 2096-0360.
  7. ↑ 7.0 7.1 7.2 Liu 刘 & Zhou 周, Licai 利才 & Sha 纱 (2024). "青年网络'梗'文化：特征、影响及引导策略"". 齐齐哈尔大学学报 (哲学社会科学版). 7: 36–41. ISSN 1008-2638. Check |issn= value (help).
  8. ↑ 汉典Accessed November 9, 2024.https://www.zdic.net/hans/%E8%B2%BC.
  9. ↑ 汉典Accessed November 9, 2024.https://www.zdic.net/hans/%E8%84%B8.
  10. ↑ 许慎. Shuowen Jiezi 《说文解字》. “贝部”. 东汉, p. 3978. Chinese Text Project 《中国哲学书电子化计划》. Accessed November 9, 2024. https://ctext.org/dictionary.pl?if=gb&id=30368&remap=gb.
  11. ↑ 许慎. Shuowen Jiezi 《说文解字》. “页部”. 东汉, p. 5584. Chinese Text Project 《中国哲学书电子化计划》. Accessed November 9, 2024. https://ctext.org/dictionary.pl?if=gb&id=32070&remap=gb.
  12. ↑ Cao, Zhibiao 曹志彪 (2008). ""帖"与"贴"."". 咬文嚼字. 5: 32–34. ISSN 1009-2390.
  13. ↑ Song, Lei 宋蕾 (216). "从互文角度看中国古典诗词中的"脸"字". 汉字文化. 6: 41–43. ISSN 1001-0661.
  14. ↑ 豆瓣Accessed November 9, 2024.hhttps://www.douban.com/group/topic/210922736/?_i=1305315ucB-ZJY.
  15. ↑ “冲突.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E5%86%B2%E7%AA%81/81589.
  16. ↑ “冒犯.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E5%86%92%E7%8A%AF/5771558.
  17. ↑ “直接.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E7%9B%B4%E6%8E%A5/32730.
  18. ↑ “互动.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E4%BA%92%E5%8A%A8/10073145.
  19. ↑ “社交.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E7%A4%BE%E4%BC%9A%E4%BA%A4%E5%BE%80/8812009.
  20. ↑ “礼貌.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E7%A4%BC%E8%B2%8C/3520033.
  21. ↑ “边界感.” Baidu Baike. Accessed November 9, 2024. https://baike.baidu.com/item/%E8%BE%B9%E7%95%8C%E6%84%9F/49816269.
  22. ↑ Collins English Dictionary. “In-your-face.” Accessed November 9, 2024. https://www.collinsdictionary.com/dictionary/english/in-your-face.
  23. ↑ Cambridge Dictionary. “Overshare.” Accessed November 9, 2024. https://dictionary.cambridge.org/dictionary/english/overshare.
  24. ↑ Lisa M & Pearce & Rebecca B, Flaherty & Kevin J & Rubin (1998). "Internet and Face‐to‐Face Communication: Not Functional Alternatives"". Communication Quarterly. 3: 250–268. ISSN 1746-4102.
  25. ↑ Zhou & Fan, Yanchun& Yanhong (2013). "A Sociolinguistic Study of American Slang"". Theory and Practice in Language Studies. 12: 2209. ISSN 1799-2591.
  26. ↑ “What Does ‘Sus’ Mean?” Merriam-Webster Wordplay. Accessed November 9, 2024. https://www.merriam-webster.com/wordplay/what-does-sus-mean.
  27. ↑ “troll.” Cambridge Dictionary. Accessed November 9, 2024. https://dictionary.cambridge.org/dictionary/english/troll.
  28. ↑ “rulesofroleplay” Accessed November 9, 2024. https://rulesofroleplay.tumblr.com/post/35597292577/what-are-ooc-and-ic.
  29. ↑ 29.0 29.1 Fandom “harrypotterfanfiction” Accessed November 9, 2024. https://harrypotterfanfiction.fandom.com/wiki/Fanfiction_Terms.
  30. ↑ 30.0 30.1 30.2 30.3 Greene & Schmid, Jacqueline Hirsh & Hans–Jörg (2013). "POV: Me, an Empath, Sensing the Linguistic Urge . . . to Study the Forms and Functions of Text-Memes"". English Today. 2: 97–104. ISSN 0266-0784.
  31. ↑ 31.0 31.1 31.2 31.3 Zhai 翟, Xuewei 学伟 (2004). "人情、面子与权力的再生产——情理社会中的社会交换方式"". 社会学研究. 5: 48–57. ISSN 1002-5936.
  32. ↑ Chaplin, Sarah, and John A. “Modes of Analysis,” Walker. Visual Literacy and Visual Poetics. Manchester: Manchester University Press, 1997.
  33. ↑ Kuhn, Anthony. “Facial Recognition And Beyond: Journalist Ventures Inside China’s Surveillance State.” NPR, January 5, 2021. https://www.npr.org/2021/01/05/953515627/facial-recognition-and-beyond-journalist-ventures-inside-chinas-surveillance-sta.
  34. ↑ Mozur, Paul. “China’s Surveillance State Is Growing—and It’s Fueling a Global Industry.” MIT Technology Review, October 10, 2022. https://www.technologyreview.com/2022/10/10/1060982/china-pandemic-cameras-surveillance-state-book/.
  35. ↑ Fortune. “China’s Gen Z Is Extremely Nationalistic, Wealthy, and Behind the ‘Great Firewall’—and That Should Worry the West.” Fortune, August 3, 2022. https://fortune.com/2022/08/03/china-gen-z-nationalism-wealth-great-firewall-jefferies-report-the-west/.
  36. ↑ Fan Yiying and Chen Jiangyi. “After 3 Years of COVID, China’s Gen-Z Face a Tough New Reality.” Sixth Tone. Accessed November 6, 2024. https://www.sixthtone.com/news/1011836.
  37. ↑ Feng, Emily. “China's Youth Unemployment and Slow Economic Growth.” NPR. January 16, 2024. https://www.npr.org/2024/01/16/1217223941/china-youth-unemployment-slow-economic-growth.
  38. ↑ 38.0 38.1 BBC. “China's Youth Unemployment Hits Record High Above 21%.” BBC News. Accessed November 6, 2024. https://www.bbc.com/news/world-asia-china-67779222.
  39. ↑ The Economist. “Xi Jinping Amends the Chinese Dream.” The Economist, November 10, 2022. https://www.economist.com/china/2022/11/10/xi-jinping-amends-the-chinese-dream.
  40. ↑ 40.0 40.1 40.2 Yang & Jia L., Xiangrong 向荣 & Mengyuan 梦圆 (2020). ""话语传播中的权力建构及其反思——"狼人杀"游戏的话语解读"". 传媒观察. 12: 43–48. ISSN 1672-3406. Cite error: Invalid <ref> tag; name ":21" defined multiple times with different content
  41. ↑ 41.0 41.1 Karen, Hellekson (2006). Fan Fiction and Fan Communities in the Age of the Internet. McFarland & Co, Jefferson.
  42. ↑ 42.0 42.1 42.2 Maria L., Leavenworth (2015). ""The Paratext of Fan Fiction."". Narrative (Columbus, Ohio). 23: 40–60. ISSN 1063-3685.
  43. ↑ 43.0 43.1 Maia & Rezende, Rousiley C. M & A. S. Thaiane (2016). "Respect and Disrespect in Deliberation Across the Networked Media Environment: Examining Multiple Paths of Political Talk"". Computer-Mediated Communication. 21: 121–139. ISSN 1083-6101.
Retrieved from "https://wiki.ubc.ca/index.php?title=Course:ASIA319/2024/%22Face_Stick%22_(贴脸)&oldid=850237"