继后形象与中国社会女性自我实现审美想象的变化  

Second Queen Image and the Changes of the Imagination of Women's Self-Realization of Aesthetic Imagination in Chinese Society

作　　者：周文萍[1] Zhou Wenping

机构地区：[1]广州大学人文学院

出　　处：《文化研究》2020年第1期87-97,共11页Cultural Studies

基　　金：广州市宣传思想文化优秀创新团队项目“转型社会与中国故事的现代书写研究”阶段性成果。

摘　　要：从1998年《还珠格格》里在男性中心爱情话语下被妖魔化的“恶皇后”,到2018年《如懿传》中婚姻话语下的幻灭者与《延禧攻略》中职场话语下的失败者,近20年来清宫剧里的继后形象转变反映了21世纪以来中国社会女性自我实现审美想象的变化。女性的自我实现审美想象方式由爱情、婚姻转变成了社会职场打拼,打破了必须通过男性才能实现自我命运的窠臼。造成这一变化的根本原因不仅在于女性地位的逐步提高,也在于21世纪以来中国社会都市化进程的加速发展。From the“evil queen”who was demonized under the masculine centered love discourse in Princess of Pearl in 1998,to the“disillusioner”under the marriage discourse in Ruyi's Royal Love in the Palace and the“loser”in the workplace discourse in Story of Yanxi Palace in 2018.The changes in the image of the Second Queen in Qing Dynasty TV Series in the past 20 years reflect the changes in Chinese society's self-realization of women's aesthetic imagination since the 21 century.Women's self-realization of aesthetic imagination has changed from love and marriage to the hard work in the social workplace,has broken the fate that self must be achieved by men.The fundamental reason for this change is not only the gradual improvement of women's status,but also the accelerated development of urbanization in Chinese society since the 21 st century.

关 键 词：女性自我实现 审美想象 爱情话语 职场话语 

分 类 号：D669.68[政治法律—政治学] J905[政治法律—中外政治制度]