Whether it’s mainland China’s Hao Fang or Taiwan’s Zhang Tiezhi, they are both committed to constructing a “resistance” narrative to describe the rise and development of rock music. [1] Zhang Tiezhi believes that the emergence of rock music in mainland China has already “carried the banner of enlightenment.” [2] He also mentioned that rock music, together with poetry, films, the documentary “River Elegy,” and the book series “Toward the Future,” collectively constituted the “enlightenment power of the chaotic era.” [2] However, as part of the cultural mosaic of mainland China in the 1980s, how was rock music shaped, reconstructed, and utilized in the power system of commerce, culture, and politics? How does rock music interact and create tension with other cultural phenomena? With the tremendous changes in Chinese society in the 21st century, facing different historical contexts, has Chinese rock music also undergone changes? Unfortunately, Zhang did not delve into these questions seriously, and at the same time, mainland Chinese rock musicians have not included these questions in their thinking. This paper selects Cui Jian and the Second Hand Rose band as representatives of Chinese rock music in different periods. Through the theoretical perspectives of political philosophy, sociology, and history, it analyzes their lyrical texts and historical backgrounds, delving into Cui Jian’s unique understanding of “revolution” and “capitalism” as a rock superstar of the 1980s, and how this understanding has shaped the unique “sensory structure” of Chinese rock musicians. At the same time, this paper aims to provide some insights for the future development of Chinese rock music.

Under the call of the times for the inheritance and protection of the excellent traditional Chinese culture, children's cultural picture books provide new possibilities and innovative strategies for learning in the preschool stage. At the same time, in the context of digital education transformation, comprehensive analysis and combination of preschool cultural education and technology innovation and integration is the call of the new era, but also for the physical and mental development of young children and the cultivation of national pride has indelible significance. Therefore, this study focuses on children's cultural picture books, and innovates the form of point-to-point reading to explore the innovation and feasibility of its integration with cultural education, with the aim of providing new innovative forms and practical ways for cultural teaching for young children. The integration of culture and technology with audio cultural picture books and picture book teaching is not only a new attempt of digital teaching, but also an innovation to protect and pass on Chinese culture and to cultivate the cultural background of young children, which is of social and educational significance.

In the “Economic and Philosophic Manuscripts of 1844,” young Marx addressed a novel issue: whereas traditional political economists regarded private property as an object opposed to the subject, adopting a metaphysical mode of thinking characterized by subject-object opposition, Adam Smith, referred to by Engels as the “Luther” of political economy, for the first time connected private property with the subject, thereby breaking away from its previous characterization as an “objective, external” dimension, implying signs of transcending Feuerbach. However, although Adam Smith and other political economists placed private property within human nature, due to their class limitations, they effectively treated profit-seeking activities as human nature, which is essentially a negation of humanity and diverges from human essence on the level of value. Marx, in critiquing their inherited ideas, not only links labor with private property but also understands labor as genuine, a return to “the essence of humanity,” as free labor rather than alienated labor, thereby laying the groundwork for the establishment of a scientific understanding of practice.

Since the 21st century, Korean pop music, represented by TV dramas, music, movies, fashion products, and other cultural forms, has spread widely worldwide. 2012 when Psy’s Gangnam style swept the globe, Jay Chou, a representative figure of the Chinese music scene, said, “Don’t let the K-pop become more and more arrogant, the Chinese Chinese pop music is the best.” However, is this the case? In 2022, the value of the cultural industry represented by the Korean Wave accounted for 18% of South Korea’s GDP, nearly $320 billion (Qiu 2014). China and South Korea are culturally similar and belong to the same East Asian region, so the spread of Korean pop music in China is also of some reference significance. This paper will take BlackPink as a case study and analyze why K-pop has gained tremendous popularity worldwide by combining music characteristics, team characteristics, and marketing strategy. It will then explore the way of overseas global marketing of Chinese pop culture to maintain the features and style of Chinese culture while spreading Chinese pop culture to the world and expand the vision of cross-cultural marketing of Chinese pop music by learning from the Korean market, to provide a reference basis for the cross-cultural marketing of China’s contemporary pop music and fill the blank of transnational cultural dissemination of Chinese pop music.