추이졘(崔健) 록음악에 대한 ‘다위안문화(大院文化)’의 영향과 한국에서 추이졘이 수용되는 방식의 문제 (The Influence of ‘Courtyard Culture’ on Cui Jian’s Rock Music and the Problem of the Way Cui Jian Is Accepted in Korea)

서지정보

· 발행기관 : 중국어문연구회
· 수록지 정보 : 중국어문논총 / 98호 / 163 ~ 190페이지
· 저자명 : 안영은

초록

In connection with the 1986 ＜Not everything＞ performance and the Tiananmen Square protests of 1989, Cui Jian was called the mouthpiece of a youth culture that resisted the nation’s old ideas and systems, then given the status of the Enlightenment, and eventually erased as the godfather of ‘China’ Rock and Roll. But this frame puzzles Cui Jian, who has been constantly pursuing new musical quests. This is because Cui Jian’s public perception of music remains in the past. While Cui Jian’s musical experiments and practices continue, the public’s perception and empathy for Cui Jian lingers in the ‘80s’ era of Work and Ownership.
Cui Jian flatly refuses to stay as a sign of an era. Perhaps because of this, Cui Jian’s overseas activities become more active. His activities have also expanded beyond the realm of music to movies, and his international reputation as a film director, not a rock singer. They are also actively seeking activities in Korea. The study focuses on “Cui Jian,” a godfather of Chinese rock music in modern Chinese space, and examines the existential aspects of Cui Jian, which appear to be through the process of the Courtyard culture gaining its identity as the godfather of rock music, and how it summons him in Korea today.

영어초록

In connection with the 1986 ＜Not everything＞ performance and the Tiananmen Square protests of 1989, Cui Jian was called the mouthpiece of a youth culture that resisted the nation’s old ideas and systems, then given the status of the Enlightenment, and eventually erased as the godfather of ‘China’ Rock and Roll. But this frame puzzles Cui Jian, who has been constantly pursuing new musical quests. This is because Cui Jian’s public perception of music remains in the past. While Cui Jian’s musical experiments and practices continue, the public’s perception and empathy for Cui Jian lingers in the ‘80s’ era of Work and Ownership.
Cui Jian flatly refuses to stay as a sign of an era. Perhaps because of this, Cui Jian’s overseas activities become more active. His activities have also expanded beyond the realm of music to movies, and his international reputation as a film director, not a rock singer. They are also actively seeking activities in Korea. The study focuses on “Cui Jian,” a godfather of Chinese rock music in modern Chinese space, and examines the existential aspects of Cui Jian, which appear to be through the process of the Courtyard culture gaining its identity as the godfather of rock music, and how it summons him in Korea today.

참고자료

· 없음