Advances in Humanities Research

Advances in Humanities Research

Vol. 5, 28 March 2024


Open Access | Article

Rock and China: From Cui Jian to Second Hand Rose

Yi Wu * 1
1 East China Normal University

* Author to whom correspondence should be addressed.

Advances in Humanities Research, Vol. 5, 17-21
Published 28 March 2024. © 2023 The Author(s). Published by EWA Publishing
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Citation Yi Wu. Rock and China: From Cui Jian to Second Hand Rose. AHR (2024) Vol. 5: 17-21.

Abstract

Whether it’s mainland China’s Hao Fang or Taiwan’s Zhang Tiezhi, they are both committed to constructing a “resistance” narrative to describe the rise and development of rock music. [1] Zhang Tiezhi believes that the emergence of rock music in mainland China has already “carried the banner of enlightenment.” [2] He also mentioned that rock music, together with poetry, films, the documentary “River Elegy,” and the book series “Toward the Future,” collectively constituted the “enlightenment power of the chaotic era.” [2] However, as part of the cultural mosaic of mainland China in the 1980s, how was rock music shaped, reconstructed, and utilized in the power system of commerce, culture, and politics? How does rock music interact and create tension with other cultural phenomena? With the tremendous changes in Chinese society in the 21st century, facing different historical contexts, has Chinese rock music also undergone changes? Unfortunately, Zhang did not delve into these questions seriously, and at the same time, mainland Chinese rock musicians have not included these questions in their thinking. This paper selects Cui Jian and the Second Hand Rose band as representatives of Chinese rock music in different periods. Through the theoretical perspectives of political philosophy, sociology, and history, it analyzes their lyrical texts and historical backgrounds, delving into Cui Jian’s unique understanding of “revolution” and “capitalism” as a rock superstar of the 1980s, and how this understanding has shaped the unique “sensory structure” of Chinese rock musicians. At the same time, this paper aims to provide some insights for the future development of Chinese rock music.

Keywords

Chinese rock; sensory structure; Cui Jian; Second Hand Rose

References

1. Hao Fang’s “Blooming of Wounded Flowers” and Zhang Tiezhi’s “Noise of the Times: The Voice of Resistance from Dylan to U2” both illustrate the observation made in this paper.

2. Zhang Tiezhi:"How Should Chinese Rock Continue to Sing?"

3. "The New Voice," p. 12

4. Wang Xiang: “Critical Point,” p. 56.

5. Raymond Williams: “Marxism and Literature,” p. 142.

6. Stuart Hall: “Cultural Studies and Its Theoretical Introduction”.

7. He Guimei: “The Imagination of Humanities”.

8. http://wdll666.blog.hexun.com/108379473_d.html

9. Li Duo: “Inside and Outside Shanhai Guan,” WeChat Public Account “Hazal Institute” (2018-09-18)

10. Liu Yan: “The Margins of Huaxia and New Period Culture,” p. 241.

11. "Philosophy and Politics: Althusser Reader," p. 364.

Data Availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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Volume Title
ISBN (Print)
ISBN (Online)
Published Date
28 March 2024
Series
Advances in Humanities Research
ISSN (Print)
2753-7080
ISSN (Online)
2753-7099
DOI
Copyright
© 2023 The Author(s)
Open Access
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited

Copyright © 2023 EWA Publishing. Unless Otherwise Stated