宮斗劇的大眾文化屬性研究
發(fā)布時(shí)間：2018-07-21 21:16
【摘要】：楊義先生在《重繪中國(guó)文學(xué)地圖》中提出了“大文學(xué)”的概念，強(qiáng)調(diào)了文學(xué)的多樣性和復(fù)雜性�！按笪膶W(xué)”的概念同時(shí)強(qiáng)調(diào)了“文學(xué)的內(nèi)在性、邊緣性、與其他學(xué)科的交叉性的相互對(duì)質(zhì)、相互參照和相互診釋”，在此意義上，作為藝術(shù)表達(dá)新興門類的電視劇不應(yīng)被我們排斥在文學(xué)視野之外。尤其是在人類逐漸告別印刷時(shí)代走進(jìn)電子傳媒時(shí)代的當(dāng)代社會(huì)，電視劇在某種程度上成為了社會(huì)文化的風(fēng)向標(biāo)，反映著大眾的心理和精神狀態(tài)，成為“文化工業(yè)”中的文本型商品。電視劇的生產(chǎn)和消費(fèi)所折射出的人文氛圍、大眾精神特質(zhì)也應(yīng)該引起我們的重視。因此在文學(xué)與社會(huì)生活密切相關(guān)的意義下，電視劇理應(yīng)成為我們文學(xué)研究的類型之一。 而本文所選取的“宮斗劇”是類型劇的一種，此類型劇以后宮為主要的表現(xiàn)空間，以妃嬪、宦官、宮女等生活在后宮的人物為主要表現(xiàn)對(duì)象，對(duì)發(fā)生在后宮的爭(zhēng)斗進(jìn)行鋪陳描述，是最近幾年興起的一種電視劇類型。宮斗劇具備大眾文化產(chǎn)品的典型特征，對(duì)其進(jìn)行分析研究能準(zhǔn)確的把握當(dāng)代社會(huì)大眾文化的發(fā)展趨勢(shì)和大眾的接受狀態(tài)，具有現(xiàn)實(shí)意義。 本文的寫作分為六個(gè)部分： 第一部分是緒論。這一部分首先厘清了“宮斗劇”的概念。其次對(duì)于類型劇的研究情況進(jìn)行了研究綜述。同時(shí)簡(jiǎn)單歸納了研究?jī)?nèi)容和研究意義。 第二部分是論文正文部分，共分為四章： 第一章旨在分析宮斗劇類型化敘事模式。主要的理論依據(jù)是敘事學(xué)，分為三個(gè)小節(jié)：程式化的敘事特點(diǎn)；類型化的人物設(shè)置；“逃離——回歸”模式。第一節(jié)主要分析了以權(quán)力為圓心，以愛情為半徑的重復(fù)的圓形敘事結(jié)構(gòu)。第二節(jié)以楊義的“結(jié)構(gòu)動(dòng)力學(xué)”為參考，分析人物三角結(jié)構(gòu)和打破動(dòng)力勢(shì)能角色的設(shè)置。第三節(jié)主要分析劇中出現(xiàn)的“逃離——回歸”模式對(duì)于主題表達(dá)的作用。 第二章的主要內(nèi)容是分析宮斗劇的多重主題。這一章共分三個(gè)小節(jié)，，分別是：宮斗劇的“偽”勵(lì)志主題；宮斗劇愛情與權(quán)力的雙子主題；宮斗劇的人性拷問。這一章主要針對(duì)宮斗劇中經(jīng)常重復(fù)出現(xiàn)的三個(gè)主題進(jìn)行分析，并力圖尋找出這些主題所表現(xiàn)的深層意義。此章的理論依據(jù)是法蘭克福學(xué)派的大眾文化理論。 第三章分析的內(nèi)容是宮斗劇的多重話語機(jī)制。這一章共分為四個(gè)小節(jié)，分別是：建構(gòu)或幻滅的烏托邦想象；含混的性別敘事；被消遣或顛覆的歷史；混亂的道德敘事。這一章重點(diǎn)分析了宮斗劇的多重話語機(jī)制，這種多重性實(shí)現(xiàn)了大眾文化對(duì)主流意識(shí)形態(tài)和大眾意識(shí)形態(tài)的縫合。此章的理論依據(jù)是法蘭克福學(xué)派的大眾文化理論和女性主義。 第四章總結(jié)了宮斗劇的大眾文化屬性。這一章分為四個(gè)小節(jié)：市場(chǎng)環(huán)境下的他律性；標(biāo)準(zhǔn)化和偽個(gè)性——宮斗劇的基本特征；從心神渙散到審美退化——宮斗劇的接受狀態(tài)；簡(jiǎn)單的機(jī)械復(fù)制——宮斗劇的生產(chǎn)方式。這一部分內(nèi)容著重分析宮斗劇典型的大眾文化屬性及其屬性的社會(huì)現(xiàn)實(shí)意義。 論文最后一部分是結(jié)語。此部分主要分析宮斗劇在大眾文化視角下的辯證意義。從法蘭克福學(xué)派的理論來講，大眾文化有其根深蒂固的消極作用，但是在經(jīng)濟(jì)社會(huì)中尤其是在處于社會(huì)轉(zhuǎn)型期的中國(guó)，它仍然有著不可替代的情緒“宣泄功能”。這就使得大眾文化在某種程度上有了一定的積極意義。作為大眾文化的典型，宮斗劇的存在意義應(yīng)該辯證地看待，結(jié)語部分即從正反兩面進(jìn)行了概括和總結(jié)。
[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.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905
本文編號(hào)：2136882
[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.
【學(xué)位授予單位】：河南大學(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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