User:Zeng Wenjing - Revision history

Chen Zilan at 14:57, 31 December 2024

2024-12-31T14:57:42Z

Chen Zilan: /* AI Statement */

2024-12-31T14:56:31Z

AI Statement

Chen Zilan at 14:55, 31 December 2024

2024-12-31T14:55:27Z

Show changes

Chen Zilan at 14:44, 31 December 2024

2024-12-31T14:44:48Z

Chen Zilan: /* Final Paper(English version) */

2024-12-31T14:33:35Z

Final Paper(English version)

Chen Zilan at 14:31, 31 December 2024

2024-12-31T14:31:53Z

Show changes

Chen Zilan at 14:26, 31 December 2024

2024-12-31T14:26:51Z

Zeng Wenjing: /* Final Paper(English version) */

2024-12-30T11:14:15Z

Final Paper(English version)

Zeng Wenjing: /* Final Paper(Chinese version) */

2024-12-30T11:13:13Z

Final Paper(Chinese version)

Zeng Wenjing at 11:10, 30 December 2024

2024-12-30T11:10:31Z

Show changes

@@ Line 273: / Line 273: @@
 I hereby guarantee that I have not used the help of AI to write my final paper in this course.
 == '''Final Paper(Chinese version)''' ==
@@ Line 293: / Line 295: @@
 '''语言特色'''
 细细分析小燕子的特色语言不难发现，她的语言内涵，概而言之是一个“真”字，即完全符合人物身份。 就形式而言，则包含了多种多样的修辞方式。其修辞方式主要“仿拟”，即根据交际的需要，模仿现有的格式，临时新创一种说法。仿拟可以在不同的语言环境中广泛运用，它的言简意赅、生动活泼、新颖别致、风趣幽默的风格，深受群众喜爱。仿拟由本体和仿体组成，本体指仿造所依据的旧的言语形式，仿体指依据旧的言语形式仿造出的新形式。在仿拟的实际运用中，本体有时出现，有时不出现。

@@ Line 270: / Line 270: @@
-== '''AI Statement''' ==
+'''AI Statement'''
 I hereby guarantee that I have not used the help of AI to write my final paper in this course.
 == '''Final Paper(Chinese version)''' ==

@@ Line 252: / Line 252: @@
 '''摘要'''
 高唱着“让我们红尘作伴活得潇潇洒洒”，改编自台湾女作家琼瑶的同名小说的《还珠格格》在20世纪90年代末掀起了一股收视狂潮，和《西游记》《新白娘子传奇》等剧成为寒暑假必播的热剧，多年以来，真正成为一代人的记忆，是一段跨越了一个世纪的影视传奇。
 '''剧情简介'''
 《还珠格格》主要讲述了乾隆皇帝东巡时与民间女子夏雨荷有过一段露水姻缘，生下一个女儿紫薇。多年后，紫薇带着母亲的信物进京认父，途中结识了小燕子。小燕子活泼好动、天真烂漫，在机缘巧合下她被乾隆误认为是自己的女儿，被封为“还珠格格”。
@@ Line 263: / Line 265: @@
 .'''仿词'''。仿词是以词为单位进行的仿拟。
 (1)“你要让‘香妃’变成‘臭妃’吗?”小燕子嚷。
 (2)小燕子一急，连思考的余地都没有，话就冲口而 出:“皇阿玛!我哪儿有时间商量出‘对策’呢?……故事编不出来，谎话说不出来，就算有‘对策’，现在也变成‘错策’了!”
 (3)(永琪)“你背一首唐诗，我就陪你练剑!”小燕子不高兴起来:“不管是‘糖诗’还是‘盐诗’，我都没有兴趣!那个苦差事，我不要做!”
-.'''仿句'''。仿句是以句子为单位的仿拟。如:
+.'''仿句'''。仿句是以句子为单位的仿拟。
 (1)(小燕子)她吃着这个，看着那个，狼吞虎咽……说:“大家坐下来一起吃吧!我相信大家都饿了，都累了，这一桌子的菜，我一个人怎么吃得下?来来来!吃饭!吃饭!累死事小，饿死事大……”上例中，“累死事小，饿死事大”仿自于“饿死事小，失节事大”，这是以句子为单位的仿造，因此属于仿句。
 (2)尔康和紫薇刚刚下马，小燕子就冲上去，拉着紫薇的手，跳脚大骂:“你搞什么鬼?好端端的闹失踪，要吓死我们每一个人吗?上次才一本正经地教训我，说是什么有福同享，有难同当的!你现在跑来睡小茅屋，是不是要我跟你一起来睡小茅屋?好嘛，咱们‘有稻草同睡，有茅屋同住’，我今天不回宫了!我得跟你‘有难同当’!” “有稻草同睡，有茅屋同住”仿自于“有福同享，有难同当”，也属于仿句。
 (3)乾隆说:“你的棋品太坏了!知不知道‘举手无悔大丈夫’?”小燕子握着棋子不放:“我不是‘大丈夫’， 我是‘举手就悔小女子’!”显然，“举手就悔小女子”仿自于“举手无悔大丈夫”，更是典型的仿句。
-.'''仿篇'''。仿篇是以段落、篇章为单位的仿拟。如:
+.'''仿篇'''。仿篇是以段落、篇章为单位的仿拟。
 (1)她不禁悲从中来。喃喃地念道:“前不见蹄膀，后不见烤鸭，念肚子之空空，独怆然而涕下!”
 (2)(小燕子)就念道:“前不见古人，后不见来者， 念天地之悠悠，舍皇宫而天下!”
 两例都是根据陈子昂的《登幽州台歌》“前不见古人，后不见来者，念天地之悠悠，独怆然而涕下”仿造而成的。这是以完整的篇章为仿造对象的，因此为仿篇。显然，这里的仿造，不是全部与本体不同。本体与仿体之间大同小异，均可看成仿篇。
@@ Line 280: / Line 291: @@
 '''服饰'''
 剧中人物服装设计精巧，具有浓郁的个性特色，人人自成风韵，又不乏古老东方文化底蕴。尤其是女性服装与其性格、身份、环境极吻合，服装的色彩运用更是独具匠心。
@@ Line 289: / Line 301: @@
 '''女性主义'''
 《还珠格格》在固守琼瑶“爱情万岁”的前提下，却也呈现了其古装电视类型剧中从未曾有过的性别再现。这个转变不仅造成了该剧受到前所未有的欢迎，巩固并扩展了琼瑶多年来的爱情伟业，同时也为流行文化促成社会霸权变迁的可能提供了极佳的例证。
@@ Line 300: / Line 313: @@
 '''社会影响'''
 《还珠格格》作为一部大众戏，其鲜明的主体张扬色彩，顺应了时下的社会心理。改革开放不仅使我国的经济获得了巨大的发展，而且使国人在思想上、精神上获得了大解放。过去，我们总是片面强调大一统的集体利益、集体意志，不允许有任何合理的个人利益、个性发展，阉割了人的主体精神与主体意识，如今人的主体精神、主体地位得到了逐步的确立以往，人们思想迷信，敬畏权力，笃信权威，搞个人崇拜，精神枷锁十分沉重，如今人们开始蔑视权威，冷漠权力，逐渐摆脱了奴性束缚，减少了人生价值实现的依赖性。整个社会崇尚自我、张扬个性、追求独立自主的意识抢占了人生的主导位置人们相信自己，个体独特的智慧得到了较好的发挥，主体力量得到了大调动、大释放，越来越懂得将命运掌握在自己手中权威与权力逐渐失去了其中心话语的优势。
@@ Line 305: / Line 319: @@
-'''参考文献'''
+'''问题'''
-[1]Degeyter H .Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey . James Leggott and Julie Anne Taddeo , eds. Lanham, MD : Rowman & Littlefield , 2015.[J].The Journal of Popular Culture,2016,49(3):678-681.
-[2]Irion J M .Woman up: invoking feminism in quality television[J].New Review of Film and Television Studies,2024,22(1):434-437.
+.你最喜欢《还珠格格》中的哪个角色？为什么？
-[3]Li Dan. A Brief Analysis of the Language Characteristics of Xiao Yanzi in "My Fair Princess" [J]. Movie Literature, 2013, (18): 76-77.（李丹.浅析《还珠格格》中小燕子的语言特色[J].电影文学,2013,(18):76-77.）
+.你最喜欢《还珠格格》中的哪对情侣？
-[4]Liu Jiasi. On "My Fair Princess" [J]. Jilin College of the Arts Journal, 2000, (01): 34-38. 2000.01.014.（刘家思.论《还珠格格》[J].吉林艺术学院学报,2000,(01):34-38.2000.01.014.）
+.您认为《还珠格格》中主要人物的 MBTI 性格是什么？
-[5]Liu Rongmei. The "My Fair Princess" Phenomenon: Interpreting Gender Representation in the TV Series "My Fair Princess" [J]. New Works in Film, 2000, (04): 53-57.（刘容玫.还珠现象—解读——《还珠格格》电视剧中的性别再现[J].电影新作,2000,(04):53-57.）
-[6]Liu Xianghong, Zhang Liguo. The Aesthetic Pursuit of "My Fair Princess" [J]. Journal of Shanxi Radio and Television University, 2000, (03): 18-20.（刘向红,张立国.《还珠格格》的审美追求[J].山西广播电视大学学报,2000,(03):18-20.）
-[7]Li Zeqin. Rhetoric, Scenery: An Exposition of Rhetoric in the Lyrics of the TV Series "My Fair Princess" [J]. Youthful Years, 2011, (14): 48-49.（李泽琴.修辞,风景——关于电视剧《还珠格格》歌词中的修辞学阐释[J].青春岁月,2011,(14):48-49.）
+'''答案'''
-[8]Wen Xiaodeng. On the Reasons for the Popularity of Qing Dynasty Dramas as Seen from "My Fair Princess" [J]. Movie Literature, 2009, (01): 117-118.（文小灯.从《还珠格格》看清朝剧热播的原因[J].电影文学,2009,(01):117-118.）
-[9]Zhang Chao. A Study on the Collective Screen Memory of the "Post-90s" Generation [D]. Zhejiang University of Media and Communications, 2018.（张超.“90后”荧屏集体记忆的研究[D].浙江传媒学院,2018.）
+''(以上问题为开放性主观题，只要答案合理，均可接受）。''
-[10]Zhao Ping. The Language Art of "My Fair Princess" [J]. Changwei Teachers College Journal, 2000, (01): 40-42.（赵萍.《还珠格格》的语言艺术[J].昌潍师专学报,2000,(01):40-42.）
+.肯定是晴儿，她以优雅、聪慧和坚定不移的忠诚而深受喜爱。尽管身为皇室成员，她依然脚踏实地、富有同情心，经常在戏剧冲突中充当理性的代言人。
-[11]Zhang Yue. The Overlooked Narrative Codes in "My Fair Princess" [J]. Cultural Industry, 2018, (09): 57-61.（张玥.《还珠格格》中被忽略的叙事密码[J].文化产业,2018,(09):57-61.）
+.最让我心动的是调皮的小燕子和永琪。他们就像皇宫里的两颗豆子，随时都会惹出皇室的骚乱，但他们的爱情故事却以火热的激情和坚定的忠诚融化了皇室的坚冰。他们是一对充满活力的组合，证明了即使在一个被古老规则束缚的世界里，爱情依然可以翩翩起舞！
 我在此保证，我没有使用人工智能来帮助撰写本课程的期末论文。

@@ Line 171: / Line 171: @@
 '''Costumes'''
 The costumes featured in the drama are exquisitely designed, showcasing strong individuality and a distinct style for each character while still honoring the ancient Oriental cultural heritage(Wen Xiaodeng,2009). Particularly, the women's attire is meticulously chosen to reflect their character, status, and setting, with particularly clever use of color.
@@ Line 181: / Line 182: @@
 '''Innovation (Feminism)'''
 In embracing Chiung Yao's ethos of "long live love," 'The Return of the Pearl Princess' introduces a novel approach to gender representation previously unseen in the costume drama. This innovative shift not only fueled the show's unprecedented popularity, solidifying and expanding upon Chiung Yao's legacy of romantic storytelling, but also exemplifies how popular culture can contribute to shifts in social hegemony(Liu Rongmei,2000).
@@ Line 193: / Line 195: @@
 '''Social influence'''
 As a beloved drama, the dominant tone of the main narrative aligns perfectly with the social psychology of the era. The reform and opening up has not only propelled our economy to unprecedented heights but has also unleashed a great awakening in the minds of our people. Historically, there was a singular focus on collective interests and will, often at the expense of individual aspirations and personal growth, which undermined the human spirit and consciousness(Liu Jiasi,2000). Now, the subjective spirit and status of the individual are increasingly recognized and honored. In the past, people's thought processes were steeped in superstition, reverence for power, and a tendency towards hero worship, all of which imposed substantial spiritual constraints. Today, there is a growing tendency to defy authority, dismiss the allure of power, and break free from the chains of servitude. The past was marked by superstition, fear of authority, blind trust in power, and the weight of spiritual shackles. In contrast, modern society champions the self, individuality, and the pursuit of independence and autonomy. People have come to believe in their own capabilities, and individual wisdom is flourishing. The collective will has been activated and unleashed, with more individuals than ever before taking control of their destinies. As a result, authority and power have gradually lost their central position in the discourse.

@@ Line 129: / Line 129: @@
 '''Telecast: ''The Return of the Pearl Princess'''''
   (Zeng Wenjing/Zoey)
@@ Line 134: / Line 135: @@
 '''Program Introduction'''
-    Singing 'Let's be companions in this mortal world and live a carefree life,' 'The Return of the Pearl Princess,' adapted from the novel by Taiwanese romance writer Chiung Yao, ignited a sensation in the late 1990s(Zhang Chao,2018). Alongside 'Journey to the West' and 'The Legend of White Snake,' it has become a staple drama during summer and winter breaks, truly becoming a collective memory of a generation.
+Singing 'Let's be companions in this mortal world and live a carefree life,' 'The Return of the Pearl Princess,' adapted from the novel by Taiwanese romance writer Chiung Yao, ignited a sensation in the late 1990s(Zhang Chao,2018). Alongside 'Journey to the West' and 'The Legend of White Snake,' it has become a staple drama during summer and winter breaks, truly becoming a collective memory of a generation.
 '''Program Contents'''
-    Set in the 18th century during the Qing Dynasty, this Chinese television series combines historical settings with a fictional narrative, creating a rich tapestry of royal intrigue and romantic escapades.
+Set in the 18th century during the Qing Dynasty, this Chinese television series combines historical settings with a fictional narrative, creating a rich tapestry of royal intrigue and romantic escapades.
-    The series continues the story of Xiaoyanzi, a spirited and kind-hearted girl mistakenly brought into the palace as a princess. Xiaoyanzi's life in the Forbidden City becomes complicated as she navigates the intricate web of palace politics, rivalry, and her complex relationships with the Emperor, her fellow princesses, and her love interest, Ziwei. It also explores Xiaoyanzi's struggle to adapt to the strict etiquette and responsibilities of palace life, often leading to humorous and heartwarming scenarios. The show is renowned for its vibrant characters, each with their own distinct personalities and backstories, from the wise and benevolent Emperor to the scheming nobles. The series doesn't shy away from showcasing the grandeur of the Qing Dynasty. From the opulent costumes to the majestic palace settings, every detail is meticulously crafted, transporting viewers back in time.
+The series continues the story of Xiaoyanzi, a spirited and kind-hearted girl mistakenly brought into the palace as a princess. Xiaoyanzi's life in the Forbidden City becomes complicated as she navigates the intricate web of palace politics, rivalry, and her complex relationships with the Emperor, her fellow princesses, and her love interest, Ziwei. It also explores Xiaoyanzi's struggle to adapt to the strict etiquette and responsibilities of palace life, often leading to humorous and heartwarming scenarios. The show is renowned for its vibrant characters, each with their own distinct personalities and backstories, from the wise and benevolent Emperor to the scheming nobles. The series doesn't shy away from showcasing the grandeur of the Qing Dynasty. From the opulent costumes to the majestic palace settings, every detail is meticulously crafted, transporting viewers back in time.
-    With a blend of romance, comedy, and drama, "The Return of the Pearl Princess" offers an engaging continuation of a beloved story. It appeals to viewers who enjoy historical dramas with a mix of light-hearted moments and serious lines, making it a classic in the genre of Chinese historical television.
+With a blend of romance, comedy, and drama, "The Return of the Pearl Princess" offers an engaging continuation of a beloved story. It appeals to viewers who enjoy historical dramas with a mix of light-hearted moments and serious lines, making it a classic in the genre of Chinese historical television.
@@ Line 147: / Line 148: @@
      A careful analysis of Xiao Yanzi's characteristic language reveals that the connotation of her language, in a nutshell, is the word "truthfulness", which is completely in line with the character's identity. In terms of form, it contains a variety of rhetorical devices. The main rhetorical device is parody, a technique that involves creating a new saying by mimicking an existing format to meet the needs of communication, which is widely applicable across different language settings(Zhao Ping,2000). It consists of two parts: the original form of speech (ontology) and the new form imitated from the original (imitation). In practice, the original form may or may not be explicitly present.Based on the fundamental concept of imitation, the author has identified several categories of imitation in the show:
 . '''Word parody'''
-    (1) "Are you going to turn 'Fragrant Concubine' into 'Stinky Concubine'?" Xiaoyanzi exclaimed.
+(1) "Are you going to turn 'Fragrant Concubine' into 'Stinky Concubine'?" Xiaoyanzi exclaimed.
-    (2) In a rush, Xiaoyanzi blurted out, "Huang Amma! Where do I have time to discuss 'countermeasures'(in Chinese,”right measures”)? ... The story can't be made up, the lies can't be told, and even if there is a 'countermeasure,' it's now become a 'wrong measures'!"
+(2) In a rush, Xiaoyanzi blurted out, "Huang Amma! Where do I have time to discuss 'countermeasures'(in Chinese,”right measures”)? ... The story can't be made up, the lies can't be told, and even if there is a 'countermeasure,' it's now become a 'wrong measures'!"
-    (3) In response to Yongqi's challenge, "If you recite a Tang poem (in Chinese, sounds like ”sugar poem”), I will accompany you to practice sword!" Little Yanzi retorts, "Whether it's a 'sugar poem' or a 'salt poem,' I'm not interested! That kind of hard work, I don't want to do it!"
+(3) In response to Yongqi's challenge, "If you recite a Tang poem (in Chinese, sounds like ”sugar poem”), I will accompany you to practice sword!" Little Yanzi retorts, "Whether it's a 'sugar poem' or a 'salt poem,' I'm not interested! That kind of hard work, I don't want to do it!"
 . '''Sentence parody'''
-    (1) Xiaoyanzi, while eating, suggests, "Let's all sit down and eat together! I believe we are all hungry and tired, and how can I eat alone with this table of food? Come, come, come! Eat! Let's eat! Exhaustion is a small matter, starvation is a big matter..." Here, "Exhaustion is a small matter, starvation is a big matter" is a parody of "Starvation is a small matter, losing one's virginity is a big matter."
+(1) Xiaoyanzi, while eating, suggests, "Let's all sit down and eat together! I believe we are all hungry and tired, and how can I eat alone with this table of food? Come, come, come! Eat! Let's eat! Exhaustion is a small matter, starvation is a big matter..." Here, "Exhaustion is a small matter, starvation is a big matter" is a parody of "Starvation is a small matter, losing one's virginity is a big matter."
-    (2) Upon seeing Erkang and Ziwei, Xiaoyanzi exclaims, "What the hell are you doing? Are you trying to scare every one of us to death? Last time, I was taught a serious lesson, saying that we share the same blessings and difficulties! Now you come to sleep in the hut, do you want me to sleep in the hut with you? Well, let's 'sleep together with straw and live together with thatched huts,' I'm not going back to the palace today!" The phrase "sleep with straw, live with thatched roof" parodies "enjoy the blessings and endure the difficulties together."
+(2) Upon seeing Erkang and Ziwei, Xiaoyanzi exclaims, "What the hell are you doing? Are you trying to scare every one of us to death? Last time, I was taught a serious lesson, saying that we share the same blessings and difficulties! Now you come to sleep in the hut, do you want me to sleep in the hut with you? Well, let's 'sleep together with straw and live together with thatched huts,' I'm not going back to the palace today!" The phrase "sleep with straw, live with thatched roof" parodies "enjoy the blessings and endure the difficulties together."
-    (3) When Qianlong says, "Your are a grumpy loser! Do you know that 'a man who raises his hand without regret is a great man'?" Xiaoyanzi retorts while holding the chess piece, "I'm not a 'great man,' I'm a 'small woman who raises her hand in remorse'!" Clearly, "raise your hand on the repentance of the little woman" is a typical imitation sentence, parodied from "raise your hand without regret big man."
+(3) When Qianlong says, "Your are a grumpy loser! Do you know that 'a man who raises his hand without regret is a great man'?" Xiaoyanzi retorts while holding the chess piece, "I'm not a 'great man,' I'm a 'small woman who raises her hand in remorse'!" Clearly, "raise your hand on the repentance of the little woman" is a typical imitation sentence, parodied from "raise your hand without regret big man."
 . '''Parody of Paragraphs'''

@@ Line 133: / Line 133: @@
 '''Program Introduction'''
      Singing 'Let's be companions in this mortal world and live a carefree life,' 'The Return of the Pearl Princess,' adapted from the novel by Taiwanese romance writer Chiung Yao, ignited a sensation in the late 1990s(Zhang Chao,2018). Alongside 'Journey to the West' and 'The Legend of White Snake,' it has become a staple drama during summer and winter breaks, truly becoming a collective memory of a generation.
 '''Program Contents'''
      Set in the 18th century during the Qing Dynasty, this Chinese television series combines historical settings with a fictional narrative, creating a rich tapestry of royal intrigue and romantic escapades.
      The series continues the story of Xiaoyanzi, a spirited and kind-hearted girl mistakenly brought into the palace as a princess. Xiaoyanzi's life in the Forbidden City becomes complicated as she navigates the intricate web of palace politics, rivalry, and her complex relationships with the Emperor, her fellow princesses, and her love interest, Ziwei. It also explores Xiaoyanzi's struggle to adapt to the strict etiquette and responsibilities of palace life, often leading to humorous and heartwarming scenarios. The show is renowned for its vibrant characters, each with their own distinct personalities and backstories, from the wise and benevolent Emperor to the scheming nobles. The series doesn't shy away from showcasing the grandeur of the Qing Dynasty. From the opulent costumes to the majestic palace settings, every detail is meticulously crafted, transporting viewers back in time.
@@ Line 143: / Line 145: @@
 '''Language Features'''
      A careful analysis of Xiao Yanzi's characteristic language reveals that the connotation of her language, in a nutshell, is the word "truthfulness", which is completely in line with the character's identity. In terms of form, it contains a variety of rhetorical devices. The main rhetorical device is parody, a technique that involves creating a new saying by mimicking an existing format to meet the needs of communication, which is widely applicable across different language settings(Zhao Ping,2000). It consists of two parts: the original form of speech (ontology) and the new form imitated from the original (imitation). In practice, the original form may or may not be explicitly present.Based on the fundamental concept of imitation, the author has identified several categories of imitation in the show:
 . '''Word parody'''
@@ Line 162: / Line 165: @@
 '''Costumes'''
      The costumes featured in the drama are exquisitely designed, showcasing strong individuality and a distinct style for each character while still honoring the ancient Oriental cultural heritage(Wen Xiaodeng,2009). Particularly, the women's attire is meticulously chosen to reflect their character, status, and setting, with particularly clever use of color.
      Xiaoyanzi's first appearance, dressed in red bridal wear, immediately conveys her joyful, daring, and chivalrous nature. Her subsequent outfit, a red and white polka-dotted Hanfu with twin pigtails, portrays her as lively, playful, witty, and adorable. When shot in the enclosure, she was wearing a white garment, just like a pure and innocent lamb. After entering the palace, her attire, including the prisoner cart adorned with a large red flag, not only befits her noble status but also highlights her dramatic and bold personality.
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 '''Innovation (Feminism)'''
      In embracing Chiung Yao's ethos of "long live love," 'The Return of the Pearl Princess' introduces a novel approach to gender representation previously unseen in the costume drama. This innovative shift not only fueled the show's unprecedented popularity, solidifying and expanding upon Chiung Yao's legacy of romantic storytelling, but also exemplifies how popular culture can contribute to shifts in social hegemony(Liu Rongmei,2000).
      When Chiung Yao inadvertently places a spirited, populist folk woman with a bold character within the confines of the Forbidden City, a bastion of orthodox authority and feudal customs, she sets the stage for inherent tension and dramatic impact(Zhang Yue,2018). The absurdities and conflicts that emerge from this unlikely encounter naturally spawn a wealth of laughter. "Xiaoyanzi, a lively, mischievous, impulsive, and capricious girl who is always ready for a fight and a joke, anytime, anywhere, is a character rarely seen in my previous works."
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 '''Social influence'''
      As a beloved drama, the dominant tone of the main narrative aligns perfectly with the social psychology of the era. The reform and opening up has not only propelled our economy to unprecedented heights but has also unleashed a great awakening in the minds of our people. Historically, there was a singular focus on collective interests and will, often at the expense of individual aspirations and personal growth, which undermined the human spirit and consciousness(Liu Jiasi,2000). Now, the subjective spirit and status of the individual are increasingly recognized and honored. In the past, people's thought processes were steeped in superstition, reverence for power, and a tendency towards hero worship, all of which imposed substantial spiritual constraints. Today, there is a growing tendency to defy authority, dismiss the allure of power, and break free from the chains of servitude. The past was marked by superstition, fear of authority, blind trust in power, and the weight of spiritual shackles. In contrast, modern society champions the self, individuality, and the pursuit of independence and autonomy. People have come to believe in their own capabilities, and individual wisdom is flourishing. The collective will has been activated and unleashed, with more individuals than ever before taking control of their destinies. As a result, authority and power have gradually lost their central position in the discourse.
      This shift in social psychology is particularly pronounced among the youth. 'Returning the Pearl' resonates with this mentality. The young characters depicted in the series are imbued with a strong sense of self and are centered on their own experiences. They are unafraid to speak their minds and act on their beliefs, challenging authority and showing no fear of the court's grandeur or its regulations and prohibitions. They allow their personalities to flourish fully, living unrestrained lives that align with their thoughts and desires. They strive to realize the value of their existence and to enhance the significance of the individual in life.
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 '''Terms and Expressions'''
 .《还珠格格》The Return of the Pearl Princess
 .仿拟parody
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 '''Questions'''
 .Which character in "The Return of the Pearl Princess" do you like best? Why?
 .Which couple in "The Return of the Pearl Princess" do you like best?
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 '''Answers'''
   (The questions above are open-ended and subjective; as long as your answers are reasonable, they are acceptable.)
 .Definitely Qinger, a beloved character known for her grace, intelligence, and unwavering loyalty. Despite her royal status, she remains down-to-earth and compassionate, often acting as the voice of reason amidst the drama.
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 [10]Zhao Ping. The Language Art of "My Fair Princess" [J]. Changwei Teachers College Journal, 2000, (01): 40-42.（赵萍.《还珠格格》的语言艺术[J].昌潍师专学报,2000,(01):40-42.）
 [11]Zhang Yue. The Overlooked Narrative Codes in "My Fair Princess" [J]. Cultural Industry, 2018, (09): 57-61.（张玥.《还珠格格》中被忽略的叙事密码[J].文化产业,2018,(09):57-61.）
 == '''AI Statement''' ==