替代性的欲望满足:宫斗题材作品中的乌托邦书写  

The Substitute for Satisfaction of Desire: The Writing of the Utopia in the Harem-Drama

作　　者：丁文俊[1,2] 

机构地区：[1]华东师范大学中文系 [2]法国国立东方语言文化学院

出　　处：《文化研究》2018年第1期212-223,共12页Cultural Studies

摘　　要：《甄嬛传》《琅琊榜》《芈月传》等宫斗剧的热播是近几年中国大众文化领域的重要事件,从文化社会学的视角考察宫斗题材作品,能为理解当代中国提供新的视角。从叙事内容角度看,宫斗剧具有欲望与权谋这两种家族相似属性,以被否定的方式反向建构了情感/家国乌托邦。透过大众文化的视角,宫斗剧体现了对资本与受众的迎合,乌托邦建立在同质化的叙事模式和精细化、骇人化的叙事风格的基础上,是当代中国现实与精神生活走向虚无化的投射。因而在文化政治层面,建立在“伪真实”基础上的乌托邦,实质上只能在政治、性欲范畴为大众提供臆想性的替代性满足,缺失在公共层面建构潜在的进步共同体的能力与动力。In recent years, the popularity of the harem-drama, like presses in the Palace, Nirvana in Fire, Legend of Mi Yue and so on, hav came an important event of the contemporary Chinese popular Em- e be- cul- ture. Through the perspective of cultural sociology on the harem-drama, it will provide a new perspective for understanding contemporary China. From narrative content, there are the two characters of the family resemblance the of the desire and tactics from the harem-drama, and in which the utopia of emo- tion or family-nation has been constructed reversely in a negated way. From the perspective to the popular culture, the harem-drama ingratiates itself with the capital and the mass, the utopia reconstructed represents the nihility both in the actual and the spiritual life from the contemporary China due to the homogeneous narrative model as well as the meticulous and horrible narrative style. Therefore, in the aspect of the cultural politics, the utopia from the har- em-drama provides the substituted suppositional reality to the people, and of- fers the fancied satisfaction in the aspects of the politics and sexuality, and lacks the ability and the motivation to constructing the potential progressive community in the field of the the publicness of politics.

关 键 词：宫斗剧 乌托邦 替代性满足 公共政治 

分 类 号：J905[艺术—电影电视艺术]