西南民族大学学报（人文社科版）

参考文献

[1][美]凯瑟琳·海勒.我们何以成为后人类：文学、信息科学和控制论中的虚拟身体[M].刘宇清，译.北京：北京大学出版社，2017.

[2]Aoyagi H.Islands of eight million smiles:Idol performance and symbolic production in contemporary Japan[M].Cambridge,MA:Harvard University Asia Center,2005.

[3]Neis R.Eyeing idols:Rabbinic viewing practices in late antiquity[J].Jewish Quarterly Review,2012(4).

[4]Aoyagi H,Galbraith P W,Kovacic M.Idology intranscultural perspective:Anthropological investigations of popular idolatry[M]//Aoyagi H,Galbraith P W,Kovacic M(eds.).Idology in transcultural perspective.Cham:Palgrave Macmillan,2021.

[5]Gell A.Art and Agency:An anthropological theory[M].Oxford,UK:Clarendon Press,1998.

[6]陈龙强，张丽锦.虚拟数字人3.0:人“人”共生的元宇宙大时代[M].北京：中译出版社，2022.

[7]许煜.论数码物的存在[M].李婉楠，译.上海：上海人民出版社，2019.

[8]许煜，[英]乔丹·斯金纳.许煜：在当下的危机中重新思考中国的技术思想[EB/OL].莫修，译.(2017-07-16)[2023-03-07].https://www.thepaper.cn/newsDetail_forward_1713518.

[9][法]让·鲍德里亚.物体系[M].林志明，译.上海：上海人民出版社，2019.

[10][美]雪莉·特克尔.群体性孤独[M].周逵，刘菁荆，译.杭州：浙江人民出版社，2014.

[11]Leo-Liu J,Wu-Ouyang B.A “soul” emerges when AI,AR,and anime converge:A case study on users of the new anime-stylized hologram social robot “Hupo”[J].New Media & Society,2024(7).

[12]Jenkins H.The revenge of the origami unicorn:Seven principles of transmedia storytelling[EB/OL].(2009-12-12)[2023-03-07].http://henryjenkins.org/blog/2009/12/the_revenge_of_the_origami_uni.html.

[13]喻国明，杨名宜.虚拟偶像：一种自带关系属性的新型传播媒介[J].新闻与写作，2020(10).

[14]解迎春.虚拟偶像的文化赋能及其文化想象[J].新闻与传播评论，2022(2).

[15]J?rgensen S M H,Vitting-Seerup S,Wallevik K,et al.Hatsune Miku:An uncertain image[J].Digital Creativity,2017(4).

[16]Black D.The virtual ideal:Virtual idols,cute technology and unclean biology[J].Continuum:Journal of Media & Cultural Studies,2008(1).

[17]Aoyagi H,Kovacic M.On popular idolatry:A refexive symbological spin[M]//Aoyagi H,Galbraith P W,Kovacic M(eds.).Idology in transcultural perspective.Cham:Palgrave Macmillan,2021.

[18]Allison A.Millennial Monsters:Japanese toys and the global imagination[M].CA:University of California Press,2006.

[19]张天水.666万观众，为什么听“她”唱中国风?[EB/OL].(2019-07-27)[2023-03-07].https://baijiahao.baidu.com/s?id=1640218692039149220&wfr=spider&for=pc.

[20]阿城.洛书河图：文明的造型探源[M].北京：中华书局，2014.

[21][英]阿尔弗雷德·盖尔.魅惑的技术与技术的魅惑[J].关祎，译.民族艺术，2013(5).

[22]高寒凝.偶像本虚拟：偶像工业的技术革新、粉丝赋权与生产机制[J].媒介批评，2019,9.

[23]Yoshida M.On two-dimensional cute girls:Virtual idols[M]//Karlin J G,Galbraith P W(eds.).Media Convergence in Japan.Tokyo:Kinema Club,2016.

[24]Ellenbogen J,Tugendhaft A(eds.).Idol anxiety[M].Palo Alto:Stanford University Press,2011.

[25][加]马歇尔·麦克卢汉.理解媒介：论人的延伸[M].何道宽，译.北京：商务印书馆，2000.

[26]宋雷雨.虚拟偶像粉丝参与式文化的特征与意义[J].现代传播(中国传媒大学学报),2019(12).

[27]晏青，宋宝儿.粉丝文化研究的议题更新与视域转换[J].西南民族大学学报(人文社会科学版),2023(7).

[28]晏青，侯涵博.作为症候的粉丝文化：社会融入的价值逻辑与可能路径[J].福建师范大学学报(哲学社会科学版),2021(3).

[29]Lam K Y.The Hatsune Miku Phenomenon:More than a virtual J-pop diva[J].The Journal of Popular Culture,2016(5).

[30]乔继堂.中国人的偶像崇拜[M].台北：百观出版社，1993.

[31]McVeigh B J.Idols that speak:How psyche and material culture co-construct each other[M]//Aoyagi H,Galbraith P W,Kovacic M(eds.).Idology in transcultural perspective.Cham:Palgrave Macmillan,2021.

[32]Smith D.What is the body without organs?Machine and organism in Deleuze and Guattari[J].Continental Philosophy Review,2018(1).

[33]胡翼青，姚文苑.重新理解媒介：论界面、内容、物质的三位一体[J].新闻与写作，2022(8).

[34]Chignell M,Wang L,Zare A,et al.The evolution of HCI and human factors:Integrating human and artificial intelligence[J].ACM Transactions on Computer-Human Interaction,2023(2).

[35][德]E·弗洛姆.生命之爱[M].罗原，译.北京：工人出版社，1988.

[36]贾晓静.韩国年轻一代爱上“虚拟网红”[N].青年参考，2022-10-28(04).

[37]Rajanala S ,Maymone M BC,Vashi N A.Selfies—living in the era of filtered photographs[J].JAMA facial plastic surgery,2018(6).