發(fā)布時間：2018-03-22 01:34

  本文選題：韓國偶像劇　切入點：男性氣質(zhì)　出處：《山東大學》2017年碩士論文　論文類型：學位論文

【摘要】：韓國是向中國輸出節(jié)目最多的國家。自1993年韓劇進入中國市場,二十多年來幾經(jīng)興衰卻始終擁有著頑強的生命力,潛移默化地滲透進中國人的衣食住行,對中國本土文化發(fā)展提出挑戰(zhàn)。在以女性為創(chuàng)作主體和目標受眾的韓國偶像劇中,男性角色的建構是重中之重。有鑒于此,本文將"韓劇"大概念進行分類限定,從中抽離出"偶像劇"這一類型,選擇在中韓兩國引發(fā)熱議、具有代表性的韓國偶像劇中的男主角作為研究對象,從西方男性氣質(zhì)理論的角度切入,綜合運用文獻研究法、個案研究法、比較分析法對韓國偶像劇男性氣質(zhì)的建構以及發(fā)展脈絡進行梳理,探究其變遷背后的文化成因。本論文一共分為五個章節(jié)。第一章為緒論,首先簡要介紹韓劇在本土和在中國的發(fā)展歷史;然后對國內(nèi)外研究韓劇的文本作研究綜述,指出家庭劇、歷史劇以及偶像劇面向的市場群體不同,表達的側重點也不同,部分研究在沒有對"韓劇"大概念進行分類限定的情況下進行,研究過于宏觀,學界對媒介與性別的研究主要以女性為主,將韓劇性別研究等同于女性研究,忽視了在文本中被置于女性凝視下的焦點——男性;最后說明個案選擇的理由以及研究方法。第二章主要介紹西方男性氣質(zhì)理論的發(fā)展歷史,探討身體與氣質(zhì)之間的關系,重點引入西方男性氣質(zhì)研究領域的重要學者R.W.康奈爾對于男性氣質(zhì)的定義和分類,說明男性氣質(zhì)本質(zhì)上是歷史性的,具有多樣性和動態(tài)性。第三章首先分析韓國偶像劇將男主角建構成帥氣男性的三個表象因素——外貌、車子、房子;其次從男主角的職業(yè)選擇與婚戀選擇上說明大家長制下男主角的反叛與妥協(xié);最后從職業(yè)倫理氣質(zhì)角度將韓國偶像劇男主角氣質(zhì)劃分為直接支配型(如集體管理,軍事命令)和技術知識類型(如專業(yè),科學)。第四章從歷時性的角度將1992年以來熱播韓國偶像劇中的男主角氣質(zhì)劃分為三個階段——完美白馬王子、孩子氣霸道總裁、神秘超能力男神和神經(jīng)質(zhì)病態(tài)精英,重點分析每個階段男性氣質(zhì)的具體案例和該階段作品中的男女兩性關系變化。最后一章,從暴力美學、消費文化、現(xiàn)代性和民族性四個維度審視韓國偶像劇男性氣質(zhì)變遷背后的文化成因,探討韓國偶像劇中表現(xiàn)出來的美學的暴力、對男性身體的異化、對西方現(xiàn)代性的向往和模仿以及植根于"恨"的悲情、疏離和反叛的民族氣質(zhì)。本文認為,消費文化在解放原有受傳統(tǒng)壓迫的"身體"的同時,也在制造新的受消費壓迫的"身體",而這種壓迫在一定程度上被大眾喜聞樂見的娛樂文化遮蔽了。
[Abstract]:South Korea is the country that exports the most programs to China. Since Korean dramas entered the Chinese market in 1993, after more than 20 years of ups and downs, it has always had a strong vitality, imperceptibly infiltrating into the Chinese people's clothing, food, housing and transportation. This paper puts forward a challenge to the development of Chinese native culture. In Korean idol dramas with women as the main creative subject and target audience, the construction of male characters is the most important. In view of this, this paper classifies the big concept of "Korean drama". From this type of "idol drama", the main actor in the representative Korean idol drama is chosen as the object of study, and the literature research method is used synthetically from the angle of the western masculinity theory, and choose the leading actor in the representative Korean idol drama as the object of study in both China and South Korea, and choose the leading actor in the representative Korean idol drama as the object of study. This paper is divided into five chapters: the first chapter is the introduction. First of all, it briefly introduces the history of the development of Korean dramas in China and at home, and then summarizes the research on the texts of Korean dramas both at home and abroad, and points out that family dramas, historical dramas and idol dramas have different market groups and different emphases. Part of the study is carried out without classifying the big concept of "Korean Drama", the study is too macro, the academic research on media and gender is mainly female, the gender study of Korean drama is equated with female study. The author neglects the focus of the female gaze in the text, and finally explains the reasons for the case selection and the research methods. Chapter two mainly introduces the history of the development of the western theory of masculinity, and probes into the relationship between body and temperament. The definition and classification of masculinity by R. W. Cornell, an important scholar in the field of western masculinity research, is introduced, which shows that male temperament is historic in nature. With diversity and dynamic. Chapter three first analyzes the Korean idol drama to build the hero into handsome male appearance of three factors-appearance, car, house; Secondly, it explains the rebellion and compromise of the leading role under the patriarchal system from the angle of career choice and marriage choice of the leading actor. Finally, it divides the leading male character of Korean idol drama into direct dominating type (such as collective management) from the angle of professional ethics. Military orders) and types of technical knowledge (such as professional, scientific, etc.). Chapter four divides the character of the actor in the popular Korean idol play since 1992 into three stages: the perfect Prince Charming, the childish overbearing president. Mysterious superpowers and neurotic morbid elites, focusing on the analysis of the specific cases of masculinity in each stage and the changes in the relationship between men and women in the works of that stage. The last chapter, from the perspective of violence aesthetics, consumer culture, From the four dimensions of modernity and nationality, this paper examines the cultural causes behind the change of male temperament in Korean idol dramas, probes into the aesthetic violence in Korean idol dramas, and dissimilates the male body. Yearning for and imitating Western modernity, and the national temperament rooted in "hate", alienation and rebellion, this paper argues that consumer culture liberates the original "body", which was oppressed by tradition, at the same time, It is also creating new "bodies" oppressed by consumption, which is partly obscured by popular entertainment.
【學位授予單位】：山東大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905

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