개혁개방 전후 중국 대중가요 가사의 욕망주체 변화에 대한 고찰(1974-1983)

Abstract

This study conducts a micro-historical examination of the transformation process of the “subject of desire” in the lyrics of Chinese mass songs during the critical transition period of the Reform and Opening-up (1974-1983). Drawing upon the perspective of Korean popular art studies, which posits mass songs as key texts for understanding the “desires” and “tastes” of the populace in a specific era, this research establishes a “four-dimensional textual analysis framework”—encompassing pronouns, emotions, narratives, and themes—to conduct in-depth readings of representative songs. The study finds that the “subject of desire” underwent a clear, non-linear, three-stage qualitative transformation: evolving from the rigidly constructed “absolute collective subject” of the late Cultural Revolution; through a stage of “limited de-tabooing” characterized by the praise of “safe,” apolitical themes after its end; to the final emergence of “subjective anxiety,” where private emotions sprouted precariously under the shelter of collective discourse. Following the onset of the Reform and Opening-up, the individual subject emerged fully, creating a complex landscape where collective, individual, and transitional narratives coexisted and competed. This paper argues that mass songs were not merely a mirror reflecting psycho-social changes but also an active cultural agent that laid a crucial cultural-psychological foundation for subsequent ideological emancipation by providing new “life scripts” and catalyzing public discussion. The contribution of this study lies in providing an empirical supplement of process and detailed evidence—filled with contradictions, compromises, and internal tensions—to the established macro-historical narrative of the shift from the collective to the individual in Chinese music.