摘要：
近年来“大女主剧”的涌现,源于新媒介语境下女性书写的兴起,表现为消费主义语境
中被“客体化”或“无名化”的女性所进行的主体性建构,网络空间赋予了大女主剧在
形式上投射到宏大空间和历史的可能性,但由于其书写中历史性、公共性不足而并未从
内涵上解决传统女性叙事“精神幽闭”的问题。大女主剧颠覆了传统言情叙事中的纯爱
想象,建构了以权力为指向的全新女性伦理,但在价值层面未能完成对于男权秩序的整
体反思,而是陷入合理化逻辑和女性独立伦理的矛盾与分裂之中,并导致了大女主表意
中挥之不去的“玛丽苏幽灵”。大女主剧以女性社会性建构作为核心意涵,但网络女频
小说的“爽文化观”,以及资本热衷的“情动”逻辑所带来的影响,限制了大女主剧深
刻表现当代女性经验和主体性建构的可能性。
Abstract:
The rise of the“great female drama”comes from the rise of female writing in the context of new
media, but the extension of the female writing 、still fails to solve the lack of publicity and history of the text.
The great female drama is based on love, and presents the self-worth of replacing love with power, but it lacks
reflection on power while showing subjectivity. The main female lead drama is limited to the pleasure culture
of consumerism and the affective economy of capital, failing to successfully express women’s growth and career possibilities.
高翔.
女性主体性建构的文化悖论——当代文化场域中的“大女主剧”
[J]. 探索与争鸣, 2021(5): 152-159.
Gao Xiang.
The Cultural Paradox of Female Subjectivity Construction——“The Great Female Drama” in Contemporary Cultural Field
[J]. Exploration and Free Views, 2021(5): 152-159.