女性主义视角下的后宫剧研究

发布时间：2018-05-10 15:52

本文选题：后宫剧 + 女性主义　；参考：《扬州大学》2014年硕士论文

【摘要】：后宫剧是戏说古装历史连续剧的一种,以后宫嫔妃间的斗争为主要题材,聚焦于后宫嫔妃及其周围多个角色间的相互关系,因此又可以称为宫斗剧。它与历史剧中的正剧不同,更加侧重于表现嫔妃及嫔妃关系,而非帝王将相。所以,后宫剧多以戏说为主,凭借着一个历史的框架对历史上的后宫做出当下社会的阐释,这种阐释随着后宫剧的批量制作,慢慢形成了模式化的表现方式,并在不知不觉中影响着女性对于自身的认识和构建。这样一种对女性关系表现的侧重正与当下消费社会的大众审美文化对女性兴趣相呼应。但是,作为一个主要表现女性的热门文化现象,当前关于它的研究情况却并不多见。已有的分析多是从道德角度出发,这样容易有“道德绑架”的危险,缺乏一定的科学性。本文从女性主义的角度出发,利用给后宫剧下定义的方法将研究对象固定于后宫剧之上,通过女性主义对其兴起的语境、对性别的表现形态和作者性别的影响方面来审视后宫剧作为一个大众文化现象背后所包含的父权制意识形态和消费主义意识形态,以及它是如何将这些意识形态用一种最自然的方式呈现并影响受众的。本文包括四个部分：第一章指出后宫剧兴起的语境。后宫剧是戏说古装历史连续剧的一种,它的兴起离不开消费主义语境,它的身上不可避免地带有大众审美文化和媒介文化的色彩；父权制意识形态有效地利用这些特点并与之合谋,形成了更具迷惑性的后女性主义。后女性主义不是一种女性主义,而是一种适应消费主义时代的个人欲望的生活方式。在后女性主义的影响下,后宫剧体现出个人化、功利化的特点。第二章主要从性别视角出发分析后宫剧一些特定的表现形态：作为建筑的“后宫”和作为构成对象的后宫女性。后宫剧表现的空间不是单纯的建筑空间,父权制代表的权力和意识形态总是有意地参与了它的构建。同时被参与构建的,还有后宫女性的刻板形象。这类刻板形象的体现了新的女性气质,但背后依然是对欲望和衰老的敌视,是传统文学中“厌女症”的延续。第三章主要从性别视角出发来研究“宫斗”这一叙事模式。后宫剧能够不断地给观众带来快感和愉悦,对于女性受众而言,意味着能够创造符合女性期待的一种叙事模式,这种叙事模式里既要包含女性通过想象认同能够得到和占有权力的快感,还要突出中间包含的一种悬疑性的情节来,这种情节能不断地吸引她们的注意力,以使她们在猜测的过程中得到快感。生父情节和复仇模式恰当地实现了这种作用。这种实现对于喜爱后宫剧的女性受众早已习以为常,但正是这样才值得人们警惕一父权制意识形态总在不知不觉甚至是愉悦中玩弄真相。第四章：扎堆的后宫剧利用“后宫”这个性别空间,刻画了一批新的女性刻板形象,形成了新的但依然带有偏见的女性气质,以及模式化的想象和叙事内容。它给受众留下了千篇一律的印象,也让自己陷入困境之中难以突围,在不完全竞争的市场中还没有走向更成熟的后宫剧之前提前失去市场。但是,在经历过一段跟风、扎堆的浪潮之后,后宫剧自身也在寻求发展：后宫剧的作者性别构成正在发生变化,这种变化对后宫剧对后宫剧文本的影响以差别的形式体现出来,使后宫剧文本内部包含的张力成为不可忽视的一部分。
[Abstract]:The opera is one of the historical series of historical drama , the struggle between the princess and the imperial concubine is the main theme , which focuses on the relationship between the imperial concubine and its surrounding roles , so it can also be called the palace drama . As a popular cultural phenomenon in the future , it is more focused on the female interest . However , as a popular culture phenomenon that mainly expresses the female , the current research situation is not uncommon . The existing analysis is more than moral angle , so it is easy to have the danger of " moral kidnapping " , and lacks certain scientific nature .

From the perspective of feminism , this paper uses the methods defined in the later palace play to fix the object of the study on the opera of the back palace , and examines the patriarchal ideology and the consumerist ideology behind the phenomenon of gender and the influence of the author ' s gender through feminism , and how it presents and influences the audience in a most natural way . This paper includes four parts :

The first chapter points out the context of the rise of the latter . The later opera is one of the series of historical series of ancient times , its rise is inseparable from the context of consumerist , and it inevitably has the masses aesthetic culture and the color of the media culture .
Patriarchy ideology effectively makes use of these characteristics and collusion with it to form a more confusing post - feminism . The post - feminism is not a feminism , but a way of life that adapts to the individual desire in the consumerist era . Under the influence of the post - feminism , the latter shows the characteristics of personalization and utility .

In the second chapter , the author analyses some specific forms of the latter ' s drama from the gender perspective : as the " back palace " of the building and the back palace women , which constitute the object . The space of the latter is not the simple building space , the power and ideology of the patriarchy representatives are always consciously involved in the construction of it . At the same time , they are also involved in the construction and the female ' s portrayal of the back palace . The image of this kind of stereotype embodies the new feminine temperament , but it is still the hostility towards desire and aging , which is the continuation of the " anaerobic " in the traditional literature .

The third chapter mainly studies the narrative pattern of " Gongdou " from the gender perspective . The latter can continuously bring pleasure and pleasure to the audience . For the female audience , it means that it can create a narrative pattern that conforms to the expectations of women . This kind of plot can constantly attract their attention to make them feel happy in the process of guessing .

The fourth chapter : The back palace plays the gender space of " back palace " , depict a new group of female stereotypes , form a new but still biased female temperament , and stereotyped imagination and narrative content . It gives the audience a uniform impression , and it also seeks development in the market of incomplete competition . The author ' s sex composition of the latter is changing . The influence of the later opera on the text of the latter is reflected in the form of difference , which makes the tension in the text of the later opera become a part of the non - neglect .

【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】