中国家族剧女性形象的审美价值

发布时间：2018-08-02 13:52

【摘要】：家族题材电视剧以家族在特定历史时期的发展为主题，展现出某一阶层或群体的生存状态和历史命运。优秀家族剧创作的共同点就是把作品的着眼点放在对人性的挖掘上。要写好一个人，首先要把他当做人来写：写出他作为人得到的东西，作为一个个体所特有的东西，以及特定环境所赋予他的东西。千百年来，女人这一属人群体，却没有得到她们作为人应有的权利，她们的生存和发展面临着太多的困境。文章将目光停留在女性这一属人群体上，期望以一种融进艺术创作的独属女性灵魂深处的生命体验，来探究女性的生存情状。由此，本文即以家族剧这一剧种为载体，以此观照中国社会发展中此时或彼时女性的审美价值。家族剧中的女人作为独立的个体，有着各自的特点和个性，又因时代和环境的迥异，展现出不同的生活状态和生命样貌。她们或是生存在“无我”的世界里，是坚贞的“父权”崇拜者，是家庭中的边缘人；或是开始懂得自己，想从令人窒息的生活夹缝中逃出，，为自己寻找出路；抑或是能够为自己“当家做主”，作为一个独立者的形象展现在观众面前。但无论是何种类型的女性形象，她们在生活过程中表现出来的身份焦虑和生存困境，无疑是更值得观者格外关注的。女性在影像表达中被拒绝、被囚禁、被命名、被剥夺了话语权种种都是家族剧中女性生存困境中的镜中之像。分析女性生存与社会文化之间的关系，可以揭露社会历史及文化构成机制，从而明晰这些机制对女性生存的压迫性；从性别权力的结构观点出发，并借助社会文化分析的视角，分析家族文本中女性面临的性别歧视、身份认同、阶级利益、婚姻情感危机等问题，从而更加深入了解女性的存在状态。女性主体性的缺失，她们的缺席和失语状态，也表现了女性生存与话语权表达的矛盾。当然，女性陷入种种的困境，与其自身的思想意识和行为冲突是分不开的。无论是家族中的女性，还是现实社会中的女性，要想求得更好的生存和发展，必须还原女性本真，不断追求自我的人生价值，在建构主体性的同时，自我发现、自我超越、自我绽放。电视剧中只有建构这样具有生命意识和现代气质的女性，才能对现实社会的女性更有启发意义，而电视剧也因此更具审美价值。
[Abstract]:The theme of family TV series with the development of family in a specific historical period shows the existence and historical fate of a certain class or group. The common point of the creation of an excellent family play is to put the focus of the work on the excavation of human nature. To write a good person, first, write him as a man: to write him as a man. Things, as something peculiar to an individual, and the things given to him as an individual, and given to him by a particular environment. For thousands of years, women, this group, have not got their rights as their human beings. Their survival and development are faced with too many difficulties. The life experience of the only female soul is made to explore the love of women. Therefore, this article takes the family drama as the carrier to observe the aesthetic value of the women at this time or at the same time in the development of Chinese society.
The women in the family plays, as independent individuals, have their own characteristics and personalities, and show different living conditions and life patterns because of the different times and the different environment. They are living in the "no" world, a persistent "paternity" worshiper, a marginal person in the family, or the beginning to understand himself and want to be stifled. To escape from the life gap of interest, to find a way out for oneself, or to "be the owner of the family", as an independent person's image in front of the audience. However, no matter what type of female image, their identity anxiety and survival predicament in the process of life are undoubtedly worth the more attention of the viewer.
Women are rejected, imprisoned, named and deprived of the right to speak in the mirror of the women's survival dilemma in family plays. The analysis of the relationship between women's survival and social culture can reveal the social history and cultural mechanism, thus clarifying the oppression of these mechanisms for the survival of women; and from gender rights. On the basis of the structural view of force, and with the help of social and cultural analysis, this paper analyzes the gender discrimination, identity, class interests and marital emotional crisis in the family text, so as to further understand the existence of women, the absence of female subjectivity, the absence of her and the state of aphasia, and the existence and the words of women. Of course, women are trapped in various difficulties and are inseparable from their own ideological and behavioral conflicts.
In order to get better survival and development, the women in the family and the women in the real society must restore the true nature of the women, pursue the value of their own life, and make self discovery, self transcendence and self blooming in the construction of the subjectivity. Only women in the TV play have such a life consciousness and modern temperament. It can be more enlightening to women in real society, and TV plays are more aesthetical.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【相似文献】