女性主義視閾下的國產(chǎn)宮斗劇研究
發(fā)布時間:2018-11-13 18:59
【摘要】:近年來國產(chǎn)宮斗劇逐步走入大眾的視野,成為當(dāng)下最受矚目的熱播劇類型,它憑借新穎的故事情節(jié)、激烈的戲劇沖突以及華麗的場景設(shè)置,吸引了大批國內(nèi)觀眾,創(chuàng)下一波又一波的收視狂潮,以至2012年被譽為宮斗劇熱播年,受到人們的廣泛關(guān)注。宮斗劇以女性的視角展開敘述,描繪了在專制宮廷里苦苦掙扎的女性群像,這些虛構(gòu)的藝術(shù)世界中投射出真實的現(xiàn)實世界的光與影,既揭示了封建后宮里的明爭暗斗和血雨腥風(fēng),又傳達(dá)出在一個極端化的男權(quán)制環(huán)境里,女性身心所受到的戕害。 本文共分為五個部分,第一章是緒論,概括總結(jié)了宮斗劇熱潮下的研究背景,并從現(xiàn)階段國內(nèi)外的研究成果出發(fā),論述課題研究的意義和目的,其中用女性主義的觀點透析宮斗劇,成為本文的主要論點。第二章主要通過分析劇中的人物形象,揭示出女性盡管居于舞臺中央,但是依然受到男權(quán)社會的清理支配。第三章則介紹了女性在后宮中的生存狀態(tài)。第四章著重從傳統(tǒng)文化和弱者身份的角度,折射出當(dāng)代女性追求平等對話的困境。第五章是結(jié)語,對全文的主要觀點做了總結(jié)。
[Abstract]:In recent years, Chinese Palace Dou Opera has gradually entered the public's field of vision, becoming the most popular type of TV drama at present. It attracts a large number of domestic audiences by virtue of its novel storylines, fierce dramatic conflicts and gorgeous scene settings. After a wave of viewers, 2012 was hailed as the year of the palace war drama and received wide attention. Miyagou dramas are narrated from a female perspective, depicting the images of women struggling in autocratic courts, who project the light and shadow of the real world in these fictional artistic worlds. It not only reveals the war and blood in the feudal palace, but also conveys the harm to the female body and mind in an extreme patriarchal environment. This paper is divided into five parts. The first chapter is the introduction, which summarizes the research background under the upsurge of Gong Dou drama, and discusses the significance and purpose of the research from the current research results at home and abroad. Among them, using the feminist point of view to analyze the palace play, become the main point of this paper. The second chapter, by analyzing the characters in the play, reveals that women are still dominated by the patriarchal society, although they are in the center of the stage. The third chapter introduces the living state of women in the harem. The fourth chapter focuses on the traditional culture and the identity of the weak, reflecting the plight of contemporary women in pursuit of equal dialogue. The fifth chapter is the conclusion, to the full text main viewpoint has made the summary.
【學(xué)位授予單位】:西南大學(xué)
【學(xué)位級別】:碩士
【學(xué)位授予年份】:2014
【分類號】:J905
本文編號:2330146
[Abstract]:In recent years, Chinese Palace Dou Opera has gradually entered the public's field of vision, becoming the most popular type of TV drama at present. It attracts a large number of domestic audiences by virtue of its novel storylines, fierce dramatic conflicts and gorgeous scene settings. After a wave of viewers, 2012 was hailed as the year of the palace war drama and received wide attention. Miyagou dramas are narrated from a female perspective, depicting the images of women struggling in autocratic courts, who project the light and shadow of the real world in these fictional artistic worlds. It not only reveals the war and blood in the feudal palace, but also conveys the harm to the female body and mind in an extreme patriarchal environment. This paper is divided into five parts. The first chapter is the introduction, which summarizes the research background under the upsurge of Gong Dou drama, and discusses the significance and purpose of the research from the current research results at home and abroad. Among them, using the feminist point of view to analyze the palace play, become the main point of this paper. The second chapter, by analyzing the characters in the play, reveals that women are still dominated by the patriarchal society, although they are in the center of the stage. The third chapter introduces the living state of women in the harem. The fourth chapter focuses on the traditional culture and the identity of the weak, reflecting the plight of contemporary women in pursuit of equal dialogue. The fifth chapter is the conclusion, to the full text main viewpoint has made the summary.
【學(xué)位授予單位】:西南大學(xué)
【學(xué)位級別】:碩士
【學(xué)位授予年份】:2014
【分類號】:J905
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