A Study of "Satirical Art" in modern China

Research Project

Project/Area Number	06610422
Research Category	Grant-in-Aid for General Scientific Research (C)
Allocation Type	Single-year Grants
Research Field	中国語・中国文学
Research Institution	EHIME UNIVERSITY
Principal Investigator	YUGE Toshihiro EHIME UNIVERSITY,FACULTY OF LAW AND LETERATURE,ASSOCIATE PROFESSOR, 法文学部, 助教授 (20200868)
Project Period (FY)	1994 – 1995
Project Status	Completed(Fiscal Year 1995)
Budget Amount *help	¥1,700,000 (Direct Cost : ¥1,700,000) Fiscal Year 1995 : ¥600,000 (Direct Cost : ¥600,000) Fiscal Year 1994 : ¥1,100,000 (Direct Cost : ¥1,100,000)
Keywords	Chinese comic dialogue / Chinese rock / public entertainments / satire / He-Chi () / Cui-Jian () / modern China / 揺滾(音)楽 / 唐朝 / 何勇
Research Abstract	Chinese comic dialogue is the most popular public entertainments in China, and the Chinese rock is supported so strongly as to be placed at the "top of the youth culture" in China. Because of their "popularity, " these public entertainments sometimes express Chinese real intention, which is difficult to find out in the "orthodox" literature such as the novel or poetry. The purposes of this study are as follows : (1) to generalize these two public entertainments under the clear theme of "satire, " and to analize the kind of role they have playd in Chinese society (2) to make lists, and to complete the basic study. First, as for the Chinese comic dialogue, I considered controversies and works from the 1950s to the 1980s ; and verified theoretical contribution of the persons concerned such as He-Chi, an auther, and the satires which developed in actual works ; and I revealed "agressive tradition" of Chinese comic dialogue which has been succeeded in severe circumstances. Secondly among Chinese rocks, I considered the songs whose meaning turned from the pro-establishment into the anti-establishment at Tian'anmen crackdown in 1989, or the songs whose titles include "red, " and revealed the character of the music world of Cui-Jian, who used freely ingenious expressions and performances to satirize severely and skillfully. Finally, to complete the basic study, I made the comprehensive bibliography of the titles of the Chinese comic dialogues, criticisms, and articles which appear in Qu-Yi, a magazine of public entertainments. Some ploblems including the digging up and analysis of new authers and works, and re-examination of notions of satire in China still remain ; so the further study is necessary.