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如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端,中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者,中國搖滾樂並沒有簡單複製西方搖滾樂史;作為一種流行次文化現象,中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷,而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史,筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 ; 作為中國搖滾樂的先驅者,在崔健的音樂作品中保留著一種「紅色情結」,一些革命年代的印記依舊會在他的歌曲中顯現;另外,崔健的一句「一無所有」喊出了那一代青年人的心聲,這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意,也因此使中國搖滾樂的命運同西方搖滾樂一樣,最先以一種反叛的不安分子形象示人;唐朝樂隊是中國搖滾樂「黃金時代」的代表,對中國古代輝煌歷史時期的追憶,加之重金屬音樂風格的衝擊力,使其再造了一個理想的中國陽剛之氣──「文武雙全」;創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩, 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比,本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 ; Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on "Chineseness" in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. ; Widely regarded as the forerunner of Chinese rock, Cui Jian's music has a "red" ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock's "golden age". Through invoking a glorious period in China's ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of "Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians' attitudes toward an "ideal" conceptualization of China have likewise ...

本論文的撰寫基於一個前設:緯書之出現,本非為釋經而生;並以此為基礎,析論經、緯關係,及其衍生之政治相關議題。傳統見解中,認為緯書的出現乃經學之附生產品,緯書的內容,係為釋經、而附以其政治任務而生。本文並無意挑戰緯書乃政治鬥爭產物之觀點,只是要說緯書乃因釋經而生,則不符西漢的儒學發展演變。 ; 儒學世界中,真正為經學附庸者,乃章句而非緯學。任何事物的出現,必然有其偶然與必然性,撇除難以探討的偶然性問題,若說緯學乃出自釋經所需,則其將缺乏形成的必然性;因為自宣帝、元帝間始,儒學各經派對自身經書的章句之學已進入高速發展期,以萬字釋一言乃師法之內的家常之事,緯學若然是釋經之作,則其出現實屬多餘。 ; 本文認為,緯學係作為博士經學、古學以外出現的第三道政治學術主流。經學上的博士經學體系,雖然系出董仲舒,難免沾染災異之說,但五經之中,除了後成的《禮記》,大體上仍然保持其「純潔」,緯學的出現,乃為對政治混局預占之所需,配合董氏以來齊學的災異傳統而發展起來的獨立學派,此即張禹口中的「新學」。必須重新評估新學的獨立性,方能掌握白虎觀後,緯學、博士經學、古學三川並流的學術「定局」。 ; 所以,本文將主要分為兩大部分,第一部分包含第一及第二章,主要探討形成博士經學體系、古學體系與緯學體系的學術歷史環境;因為經學史的演進部分,研究已汗牛充棟,本文集中討論的是形成這個政治學術環境的背境因素。 ; 第二部分包含第三及第四章,主要探討緯學在兩漢之際的儒學體系中的角色。東漢中前期形成三學並立的局面,源起成帝對新學的提拔,此新學本文稱為成哀新學,其除對齊學傳統的災異之說有所繼承外,更係對西漢一代可資運用的「一切資源」加以包納,形成一個「百科全書」式的學派綱目。基於王莽與劉秀對新學的「神化」,令其成為「儒教」在兩漢之際實踐神道設教的核心,地位更凌駕於博士經系之上。本部分即對此現象之形成加以綜述。 ; 簡單而言,本文將視「博士經學」「古學經學」「緯學」為漢代儒學中的三個重要組成部分,而儒學思想,則作為三者溝通、乃至相互影響的橋樑;不過,此橋樑本身,亦係三者之體系形成過程中,方始形成的觀念;換言之,本文旨在透過理解此體系之形成,以釐清漢代儒學發展中的部分關鍵。 ; To exmaine the development of Ru learning in early Han Dynasty through the study of its formation process has so far received relatively less attention, as scholars mostly took it for granted that Ru classics were mostly formed during the Warring States. However, the Ru classics as we know today had simply not yet been compiled in early Han, but fragmented pieces of allegedly writings of ancient authors, with ample rooms for further and necessary intreptation. In other words, without the deconstruction, and reconstruction, of the Han Confucians, the concept of Classics (jing) would only remain empty. This thesis, thus, would focus on how and why Ru classics were constructed. ; The first chapter provides a brief history on the formation and changes of the Five Classics, together with an introduction of the background of the Han intellectual world at its very beginning; as well as an analysis of the ways that the Central government and different localities interacted in order to facilitate the initial stage of Han Ru development. ; The second chapter will study the formative years of Ru participation in ...