新时期电视剧女性形象的嬗变及其文化镜像功能  

Transmutation and Cultural Image Function of the Female Images in the TV Dramas of the New Era

作　　者：李琦[1] 杨时梅[1] 

机构地区：[1]湖南师范大学新闻与传播学院,湖南长沙410081

出　　处：《湖南师范大学社会科学学报》2010年第6期132-136,共5页Journal of Social Science of Hunan Normal University

基　　金：湖南师范大学社会科学青年学术骨干培养计划(2009)资助

摘　　要：电视剧在现代社会具有独特的意识形态与"社会神话"建构功能,其中的女性叙事就显示出影响社会秩序建设、规范女性自身形象的深刻文化制约作用。通过对1990年、1999年、2009年三部在当时产生较大社会影响的电视剧文本的深入解读,我们可以清晰地勾画出新时期电视剧女主角形象变化的轨迹。《渴望》中的刘慧芳自我意识缺失,是传统道德女性的范本;《牵手》中的夏晓雪身上交织着传统性与现代性,彰显了知识女性在经历社会角色困惑后日益苏醒的主体意识;《蜗居》中的郭海藻则是物欲至上的世俗价值观念背离传统伦理道德的极端典型。女性形象的嬗变历程既表征着社会变迁带来的女性自我意识的转化,也折射出不同历史时期社会主流文化价值观的演变,从而呈现出丰富的文化镜像意义。TV drama has a particular function in constructing ideology and＂social myth＂,and its female narration shows profound cultural restriction on the construction of social order and the regulation of the female image.By the in-depth analysis to three TV dramas which have a great social impact respectively in 1990,1999 and 2009,we can outline the transmutation of actress image in the TV dramas of the new period clearly.Liu Hui-fang in the Expectation lacks self-awareness,who is a female model of traditional moral;Xia Xiao-xue in the Hand in Hand is intertwined with tradition and modernity,who manifests the increasingly waking consciousness of intellectual women after puzzling over the social roles;Guo Hai-zao in the Humble Abode is an extreme representative of secular values of goods-desire supremacy deviating from the traditional ethics.The changing process of the female images not only represents the transformation of women＇s self-awareness brought about by the social changes,but also reflects the transmution of the mainstream cultural values of society in different historical periods,which demonstrates great significance of cultural images.

关 键 词：电视剧 女性形象 男权话语 观念嬗变 影像书写 

分 类 号：J905[艺术—电影电视艺术]