本文選題：中國(guó)家庭倫理劇　切入點(diǎn)：電視劇敘事　出處：《湖北師范學(xué)院》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：本文以中國(guó)家庭倫理劇批評(píng)中的敘事批評(píng)為研究對(duì)象,旨在探討中國(guó)家庭倫理劇敘事批評(píng)的發(fā)展特征,分析中國(guó)家庭倫理劇敘事批評(píng)借用中國(guó)傳統(tǒng)敘事學(xué)、西方經(jīng)典敘事學(xué)和后經(jīng)典敘事學(xué)理論對(duì)中國(guó)家庭倫理劇的敘事形式和意識(shí)形態(tài)意義進(jìn)行批評(píng)的成就與經(jīng)驗(yàn)得失。本文由三個(gè)部分組成,即緒論、正文(共計(jì)三章七節(jié))和結(jié)語(yǔ)組成。 緒論部分對(duì)本文研究的緣起與對(duì)象進(jìn)行了說(shuō)明,對(duì)本文選題的研究現(xiàn)狀與文獻(xiàn)進(jìn)行了描述,闡明了本文選題的研究目的與意義,最后對(duì)本文采用的研究方法作了必要的說(shuō)明。 第一章的內(nèi)容有三個(gè)方面：首先,對(duì)中國(guó)家庭倫理劇的概念、類(lèi)型與特征進(jìn)行了界定和分析,對(duì)中國(guó)家庭倫理劇的發(fā)展歷史及其特征等作了簡(jiǎn)要的描述。其次,對(duì)本文中的“敘事”、“電視劇敘事”和“敘事批評(píng)”等重要概念進(jìn)行了界定,對(duì)中國(guó)家庭倫理劇敘事批評(píng)的階段性、多樣性與雜糅等特征進(jìn)行了描述和分析。再次,對(duì)中國(guó)家庭倫理劇敘事批評(píng)的理論資源,即中國(guó)傳統(tǒng)敘事學(xué)、西方經(jīng)典敘事學(xué)、后經(jīng)典敘事學(xué)和影視敘事學(xué)等作了簡(jiǎn)要的描述。 第二章研究偏重形式分析的中國(guó)家庭倫理劇敘事批評(píng),其內(nèi)容有兩個(gè)方面：一是研究對(duì)中國(guó)家庭倫理劇敘述形式的敘事批評(píng),具體表現(xiàn)在對(duì)電視劇的敘述視角、敘述者和敘事時(shí)間的分析批評(píng)上；二是研究對(duì)中國(guó)家庭倫理劇故事結(jié)構(gòu)的敘事批評(píng),具體表現(xiàn)在人物、情節(jié)和敘事結(jié)構(gòu)的分析批評(píng)上。二者借用的敘事學(xué)理論,既有中國(guó)傳統(tǒng)敘事學(xué),也有西方經(jīng)典敘事學(xué)。從敘事批評(píng)取得的成就上看,對(duì)故事結(jié)構(gòu)的批評(píng)高于對(duì)敘述形式的批評(píng)。 第三章研究超越形式分析的中國(guó)家庭倫理劇敘事批評(píng),其內(nèi)容有兩個(gè)方面：一是研究中國(guó)家庭倫理劇批評(píng)中的女性主義敘事批評(píng),對(duì)其興起的原因、與女性主義批評(píng)的異同及其對(duì)中國(guó)家庭倫理劇敘事的性別政治的闡釋等,進(jìn)行了分析;二是研究具有后經(jīng)典敘事學(xué)色彩的中國(guó)家庭倫理劇的敘事批評(píng),對(duì)其在中國(guó)家庭倫理劇敘事形式的意識(shí)形態(tài)性與文化意蘊(yùn)的闡釋、闡釋操作方法及其批評(píng)方法的“自主創(chuàng)新”等,進(jìn)行了具體的分析。 結(jié)語(yǔ)部分對(duì)中國(guó)家庭倫理劇敘事批評(píng)的亮點(diǎn)、弱點(diǎn)和盲點(diǎn)等進(jìn)行了總結(jié),對(duì)中國(guó)家庭倫理劇敘事批評(píng)的發(fā)展趨勢(shì)作了展望。
[Abstract]:This paper takes the narrative criticism in Chinese family ethics drama criticism as the research object, aims to probe into the development characteristics of Chinese family ethics drama narrative criticism, and to analyze that Chinese family ethics drama narrative criticism borrows from Chinese traditional narratology. The western classical narratology and the post-classical narratology theory are the achievements and experiences in criticizing the narrative form and ideological significance of Chinese family ethics dramas. The text (total of three chapters and seven sections) and the conclusion of the composition. In the introduction part, the origin and object of this paper are explained, the research status and literature of this thesis are described, the purpose and significance of the research are expounded, and the research methods used in this paper are explained. The first chapter has three aspects: firstly, it defines and analyzes the concept, types and characteristics of Chinese family ethics drama, and gives a brief description of the development history and characteristics of Chinese family ethics drama. This paper defines the important concepts of "narrative", "TV drama narrative" and "narrative criticism", and describes and analyzes the characteristics of Chinese family ethics drama narrative criticism, such as stage, diversity and hybridity. This paper gives a brief description of the theoretical resources of narrative criticism of Chinese family ethics drama, that is, Chinese traditional narratology, western classical narratology, post-classical narratology and film and television narratology. The second chapter studies the narrative criticism of Chinese family ethics drama with emphasis on form analysis, which has two aspects: one is to study the narrative criticism of the narrative form of Chinese family ethics drama, which is embodied in the narrative angle of TV drama. The second is to study the narrative criticism of the story structure of Chinese family ethics drama, which is embodied in the analysis and criticism of characters, plot and narrative structure. There are not only Chinese traditional narratology but also western classical narratology. From the point of view of the achievements of narrative criticism the criticism of the structure of the story is higher than the criticism of the narrative form. The third chapter studies the narrative criticism of Chinese family ethics drama beyond formal analysis, which has two aspects: one is to study the feminist narrative criticism in the criticism of Chinese family ethics drama, and the reasons for its rise. This paper analyzes the similarities and differences with feminist criticism and its interpretation of gender politics in the narrative of Chinese family ethics drama, and studies the narrative criticism of Chinese family ethics drama with the color of post-classical narratology. This paper makes a concrete analysis of the ideology and cultural implication of the narrative form of family ethics drama in China, as well as the "independent innovation" of the operation method and its critical method. The conclusion summarizes the highlights, weaknesses and blind spots of Chinese family ethics drama narrative criticism, and prospects the development trend of Chinese family ethics drama narrative criticism.
【學(xué)位授予單位】：湖北師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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