宫斗剧的大众文化属性研究

发布时间：2018-07-21 21:16

【摘要】：杨义先生在《重绘中国文学地图》中提出了“大文学”的概念，强调了文学的多样性和复杂性。“大文学”的概念同时强调了“文学的内在性、边缘性、与其他学科的交叉性的相互对质、相互参照和相互诊释”，在此意义上，作为艺术表达新兴门类的电视剧不应被我们排斥在文学视野之外。尤其是在人类逐渐告别印刷时代走进电子传媒时代的当代社会，电视剧在某种程度上成为了社会文化的风向标，反映着大众的心理和精神状态，成为“文化工业”中的文本型商品。电视剧的生产和消费所折射出的人文氛围、大众精神特质也应该引起我们的重视。因此在文学与社会生活密切相关的意义下，电视剧理应成为我们文学研究的类型之一。而本文所选取的“宫斗剧”是类型剧的一种，此类型剧以后宫为主要的表现空间，以妃嫔、宦官、宫女等生活在后宫的人物为主要表现对象，对发生在后宫的争斗进行铺陈描述，是最近几年兴起的一种电视剧类型。宫斗剧具备大众文化产品的典型特征，对其进行分析研究能准确的把握当代社会大众文化的发展趋势和大众的接受状态，具有现实意义。本文的写作分为六个部分：第一部分是绪论。这一部分首先厘清了“宫斗剧”的概念。其次对于类型剧的研究情况进行了研究综述。同时简单归纳了研究内容和研究意义。第二部分是论文正文部分，共分为四章：第一章旨在分析宫斗剧类型化叙事模式。主要的理论依据是叙事学，分为三个小节：程式化的叙事特点；类型化的人物设置；“逃离——回归”模式。第一节主要分析了以权力为圆心，以爱情为半径的重复的圆形叙事结构。第二节以杨义的“结构动力学”为参考，分析人物三角结构和打破动力势能角色的设置。第三节主要分析剧中出现的“逃离——回归”模式对于主题表达的作用。第二章的主要内容是分析宫斗剧的多重主题。这一章共分三个小节，，分别是：宫斗剧的“伪”励志主题；宫斗剧爱情与权力的双子主题；宫斗剧的人性拷问。这一章主要针对宫斗剧中经常重复出现的三个主题进行分析，并力图寻找出这些主题所表现的深层意义。此章的理论依据是法兰克福学派的大众文化理论。第三章分析的内容是宫斗剧的多重话语机制。这一章共分为四个小节，分别是：建构或幻灭的乌托邦想象；含混的性别叙事；被消遣或颠覆的历史；混乱的道德叙事。这一章重点分析了宫斗剧的多重话语机制，这种多重性实现了大众文化对主流意识形态和大众意识形态的缝合。此章的理论依据是法兰克福学派的大众文化理论和女性主义。第四章总结了宫斗剧的大众文化属性。这一章分为四个小节：市场环境下的他律性；标准化和伪个性——宫斗剧的基本特征；从心神涣散到审美退化——宫斗剧的接受状态；简单的机械复制——宫斗剧的生产方式。这一部分内容着重分析宫斗剧典型的大众文化属性及其属性的社会现实意义。论文最后一部分是结语。此部分主要分析宫斗剧在大众文化视角下的辩证意义。从法兰克福学派的理论来讲，大众文化有其根深蒂固的消极作用，但是在经济社会中尤其是在处于社会转型期的中国，它仍然有着不可替代的情绪“宣泄功能”。这就使得大众文化在某种程度上有了一定的积极意义。作为大众文化的典型，宫斗剧的存在意义应该辩证地看待，结语部分即从正反两面进行了概括和总结。
[Abstract]:In the "redrawing of Chinese literature map", Mr. Yang Yi put forward the concept of "great literature", emphasizing the diversity and complexity of literature. The concept of "great literature" emphasizes the "interdependence, mutual reference and mutual diagnosis of the interdependence of literature and the intersecting of other disciplines", in this sense, as an artistic expression. TV dramas in emerging categories should not be excluded from the literary field of view, especially in the contemporary society of the era of electronic media, which has gradually become a social and cultural vane, reflecting the psychological and spiritual state of the public, and becoming a text type commodity in the "cultural industry". In the sense of literature and social life, TV plays should be one of the types of our literary study.
"Gong Dou opera" is one of the types of drama. After this type of drama, the main manifestation of the palace is that the main manifestation of the palace is the characters of the concubines, the eunuchs and the palace maidens. It is a kind of TV drama which has emerged in the last few years. It is of practical significance to analyze and study the typical characteristics of products and accurately grasp the trend of development of contemporary mass culture and the acceptance of the masses.
The writing of this article is divided into six parts:
The first part is the introduction. This part first clarifies the concept of the "palace fight drama". Secondly, it summarizes the research situation of the type drama. At the same time, it briefly summarizes the research content and the significance of the research.
The second part is the main body of the thesis, which is divided into four chapters.
The first chapter is to analyze the typed narrative pattern of palace play. The main theoretical basis is narratology, which is divided into three sections: Stylized narrative features, typed character settings, and "escape - return" mode. The first section mainly analyzes the circular narrative structure with power as a center and love as a half path. The second section is Yang The third section mainly analyzes the role of the "escape - regression" model in the theme expression in the play.
The main content of the second chapter is to analyze the multiple themes of the palace play. This chapter is divided into three sections, which are the "pseudo" inspirational themes of the palace drama, the double theme of the love and power of the palace drama and the torture of the human nature in the palace play. This chapter mainly analyzes the three themes that often appear in the palace drama, and tries to find out it. The deep meaning of these themes is based on the popular culture theory of Frankfurt school.
The content of the third chapter is the multiple discourse mechanism of palace play. This chapter is divided into four sections: the utopian imagination of construction or disillusionment, the ambiguous sex narration, the history of being diverted or subverted, and the chaotic moral narration. This chapter focuses on the multi discourse mechanism of the palace play, and this multiplicity realizes the public. The suture of culture to mainstream ideology and popular ideology. The theoretical basis of this chapter is the popular culture theory and feminism of Frankfurt school.
The fourth chapter summarizes the popular cultural properties of palace play. This chapter is divided into four sections: heteronomy in the market environment; standardization and pseudo personality -- the basic characteristics of the palace play; from the distraction of the heart to the aesthetic degradation - the accepting state of the palace play; the simple mechanical reproduction - the mode of production of the palace play. Re analyzing the social significance of the typical popular culture attribute and its attributes of Gong Du drama.
The last part of the paper is the conclusion. This part mainly analyzes the dialectical significance of the palace opera in the view of mass culture. From the theory of the Frankfurt school, the mass culture has its deep-rooted negative effect, but in the economic society, especially in the period of social transformation, it still has an irreplaceable emotion "catharsis". This makes the popular culture to some extent positive significance. As the typical of the popular culture, the significance of the palace play should be viewed dialectically, and the conclusion is summarized and summarized from both the positive and the negative sides.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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