"Song Of The Weird Youth"-Study On The Dissemination And Reception Of Punk Culture In China

Since its birth in America and Britain at 1960's end and 1970's beginning,the punk subculture has evolved into a widespread genre of youth cultures.As early as 1978,punk had been introduced to China from abroad.With the development of rock music in China,punk came into more and more young people's vision and made another highlight of Chinese Rock in 1990s.After approximately forty years'dissemination,practice,interpretation and criticism,many groups of people have worked in unison on the choosing,involvement and transformation of punk,eventually rendering a Chinese characteristic punk subculture.The Foreword of the thesis defines the subject,gives a literature review home and abroad,and introduces the meaning and value,innovation points,emphasis,obstacles,methods,approaches and structure of this research.Chapter I enters further into the origin and evolvement of the word "punk",compiles a short history of the eruption and development of punk in America and Britain,and summarizes its cultural connotation and identity features.At the same time,it cuts in from the dispute on the translation of "punk",delivers a general sketch of punk culture's dissemination in China in three phases.As far as this thesis is concerned recently,there are four major ways of domestic dissemination of punk,including translation?Dakou?Midi and independent labels.Their work in unison has expanded the scale of punk-lovers,and accelerated the coming of Chinese Rock-Punk Era.Chapter II focuses on the "Punk Era",taking punk forerunners Cui Jian and He Yong,a punk band named "The Contigent Army"(WULIAO JUNDUI)in Beijing,and bands like The Punk God(Pan Gu),The Tongue(She Tou),The Fly(Cang Ying)and SMZB from other provinces of China,and the internationally well-known female punk band Hang on the Box(Gua Zai He Zi Shang)since the late of 90s as case studies to display the localization process of punk in China.Because many independent music critics have worked a long time and contributed a lot on the disseminaton and reception of punk in China,Chapter III fouses on three of them.They are Hao Fang,Li Wan and Yan Jun.They stand for three representative critic ways and attitudes of punk culture in China.Their works are accepted by young and middle-aged readers at different times.Honestly speaking,they have contributed in the process of punk culture's localization in China.Their works have actually influenced people's recognition of punk and cleared the path of proper understanding of it.Chapter IV starts from three aspects to analyze the relation between culture recognition and literature's aesthetic paradigm:standpoint and thought in culture recognition,characteristic expression and general appeal of literature,transformation of literature' aesthetic paradigm.Then from the perspective of the tight relation between literature writing and subculture dissemination,it touches the cases of two groups of punk writers:Wei Hui and Mian Mian,Ning Ken and Chunshu,in the will of analyzing the modern writers' difference in acceptance of punk.The Conclusion part reacts to those parts before.It is concluded that the greatest significance of punk culture practice lies in the release of questions so that people could have more space,methods and courage to express ideas and argue freely.Meanwhile,problems might be resolved in the process of fierce ideological collision.