Behind ＂Pop Songs Between 1930s and 1940s in Shanghai＂ Aesthetic Release of Eros Utopia  

作　　者：ZHOU Xiaoyan CANG Kaiyan ZHOU Hanlu 

机构地区：[1]Yancheng Institute of Technology, Jiangsu, China [2]Jiangsu Yancheng Middle School, Jiangsu, China

出　　处：《Journal of Literature and Art Studies》2016年第12期1545-1548,共4页文学与艺术研究（英文版）

基　　金：Acknowledgements： This paper was sponsored by （1） Jiangsu Social Science Funding Project ＂Research on Chinese Pop Music＂ （13ZWD019）; （2） China National Social Science Foundation ＂Research on the Fundamental Problems of the Contemporary Aesthetics and Criticism Patterns＂ （15ZDB023）.

摘　　要：＂Pop Songs between 1930s and 1940s in Shanghai＂ contains the artistic phenomenon with the utopian feature. Its main objective lies in the will instead of hope. The era endows different aesthetic utopian meanings to ＂Pop Songs between 1930s and 1940s in Shanghai＂. After 2010, the utopian change of such songs is closely related to the contradiction between ＂aesthetic imagination and reality＂, and ＂individual interest and integrated social interest＂ that are intrinsic in the utopian concept. To sort out the utopian process of those songs, it is helpful for correcting the current status about the weakened critical realism function of the current art, and accelerating the arousal of the literary and artistic creation, and individual consciousness, laying equal stress on and gathering the aesthetic power of these individuals, which provides solid foundation for the generalization of aesthetic utopian significance.

关 键 词：Shanghai Oldies （Pop Songs between 1930s and 1940s in Shanghai） aesthetic utopia internal contradiction 

分 类 号：I[文学]