本文選題：后宮劇 + 女性主義　； 參考：《揚(yáng)州大學(xué)》2014年碩士論文

【摘要】：后宮劇是戲說(shuō)古裝歷史連續(xù)劇的一種,以后宮嬪妃間的斗爭(zhēng)為主要題材,聚焦于后宮嬪妃及其周圍多個(gè)角色間的相互關(guān)系,因此又可以稱為宮斗劇。它與歷史劇中的正劇不同,更加側(cè)重于表現(xiàn)嬪妃及嬪妃關(guān)系,而非帝王將相。所以,后宮劇多以戲說(shuō)為主,憑借著一個(gè)歷史的框架對(duì)歷史上的后宮做出當(dāng)下社會(huì)的闡釋,這種闡釋隨著后宮劇的批量制作,慢慢形成了模式化的表現(xiàn)方式,并在不知不覺中影響著女性對(duì)于自身的認(rèn)識(shí)和構(gòu)建。這樣一種對(duì)女性關(guān)系表現(xiàn)的側(cè)重正與當(dāng)下消費(fèi)社會(huì)的大眾審美文化對(duì)女性興趣相呼應(yīng)。但是,作為一個(gè)主要表現(xiàn)女性的熱門文化現(xiàn)象,當(dāng)前關(guān)于它的研究情況卻并不多見。已有的分析多是從道德角度出發(fā),這樣容易有“道德綁架”的危險(xiǎn),缺乏一定的科學(xué)性。 本文從女性主義的角度出發(fā),利用給后宮劇下定義的方法將研究對(duì)象固定于后宮劇之上,通過(guò)女性主義對(duì)其興起的語(yǔ)境、對(duì)性別的表現(xiàn)形態(tài)和作者性別的影響方面來(lái)審視后宮劇作為一個(gè)大眾文化現(xiàn)象背后所包含的父權(quán)制意識(shí)形態(tài)和消費(fèi)主義意識(shí)形態(tài),以及它是如何將這些意識(shí)形態(tài)用一種最自然的方式呈現(xiàn)并影響受眾的。本文包括四個(gè)部分： 第一章指出后宮劇興起的語(yǔ)境。后宮劇是戲說(shuō)古裝歷史連續(xù)劇的一種,它的興起離不開消費(fèi)主義語(yǔ)境,它的身上不可避免地帶有大眾審美文化和媒介文化的色彩；父權(quán)制意識(shí)形態(tài)有效地利用這些特點(diǎn)并與之合謀,形成了更具迷惑性的后女性主義。后女性主義不是一種女性主義,而是一種適應(yīng)消費(fèi)主義時(shí)代的個(gè)人欲望的生活方式。在后女性主義的影響下,后宮劇體現(xiàn)出個(gè)人化、功利化的特點(diǎn)。 第二章主要從性別視角出發(fā)分析后宮劇一些特定的表現(xiàn)形態(tài)：作為建筑的“后宮”和作為構(gòu)成對(duì)象的后宮女性。后宮劇表現(xiàn)的空間不是單純的建筑空間,父權(quán)制代表的權(quán)力和意識(shí)形態(tài)總是有意地參與了它的構(gòu)建。同時(shí)被參與構(gòu)建的,還有后宮女性的刻板形象。這類刻板形象的體現(xiàn)了新的女性氣質(zhì),但背后依然是對(duì)欲望和衰老的敵視,是傳統(tǒng)文學(xué)中“厭女癥”的延續(xù)。 第三章主要從性別視角出發(fā)來(lái)研究“宮斗”這一敘事模式。后宮劇能夠不斷地給觀眾帶來(lái)快感和愉悅,對(duì)于女性受眾而言,意味著能夠創(chuàng)造符合女性期待的一種敘事模式,這種敘事模式里既要包含女性通過(guò)想象認(rèn)同能夠得到和占有權(quán)力的快感,還要突出中間包含的一種懸疑性的情節(jié)來(lái),這種情節(jié)能不斷地吸引她們的注意力,以使她們?cè)诓聹y(cè)的過(guò)程中得到快感。生父情節(jié)和復(fù)仇模式恰當(dāng)?shù)貙?shí)現(xiàn)了這種作用。這種實(shí)現(xiàn)對(duì)于喜愛后宮劇的女性受眾早已習(xí)以為常,但正是這樣才值得人們警惕一父權(quán)制意識(shí)形態(tài)總在不知不覺甚至是愉悅中玩弄真相。 第四章：扎堆的后宮劇利用“后宮”這個(gè)性別空間,刻畫了一批新的女性刻板形象,形成了新的但依然帶有偏見的女性氣質(zhì),以及模式化的想象和敘事內(nèi)容。它給受眾留下了千篇一律的印象,也讓自己陷入困境之中難以突圍,在不完全競(jìng)爭(zhēng)的市場(chǎng)中還沒(méi)有走向更成熟的后宮劇之前提前失去市場(chǎng)。但是,在經(jīng)歷過(guò)一段跟風(fēng)、扎堆的浪潮之后,后宮劇自身也在尋求發(fā)展：后宮劇的作者性別構(gòu)成正在發(fā)生變化,這種變化對(duì)后宮劇對(duì)后宮劇文本的影響以差別的形式體現(xiàn)出來(lái),使后宮劇文本內(nèi)部包含的張力成為不可忽視的一部分。
[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 .

【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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