世界杯作为全球最具影响力的体育赛事，其主题曲生产在资本的深度介入下呈现出深刻的文化异化。本位以马克思异化劳动理论与阿多诺文化工业批判为框架。通过对《Gloryland》《Waka Waka》《Wavin’ Flag》《The World Is Yours to Take》四首主题曲及其改编母曲进行对比，揭示了历史记忆的剔除、资本审美的规训、演唱者身份的功能化的音乐异化三重症候，并分析了异化现象三重政治经济学根源，使用价值服从于交换价值、美的规律服从于资本增殖、自觉主体服从于资本意志。最后，通过对“文化工业”再批判和“感性的人”再复归，探寻审美解放的可能。

As one of the most influential sports events globally, the production of the theme songs for the World Cup exhibits profound cultural alienation under the deep involvement of capital. This analysis is framed by Marx’s theory of alienated labor and Adorno’s critique of the cultural industry. By comparing four theme songs—“Gloryland,” “Waka Waka,” “Wavin’ Flag,” and “The World Is Yours to Take”—as well as their original versions, we reveal three critical symptoms of musical alienation: the erasure of historical memory, the disciplining of capital-driven aesthetics, and the functionalization of the identities of performers. We also analyze the three underlying economic factors of this phenomenon: the subordination of use value to exchange value, the subordination of the laws of beauty to capital accumulation, and the subordination of conscious subjects to capital will. Finally, through a re-critique of “cultural industry” and a re-return to “the sensuous person,” we explore the possibility of aesthetic liberation.