User:Zeng Wenjing

As an MTIer with a fluctuating MBTI chart—either an INFP or an ENFP, depending on the day—I'm a connoisseur of the quirky and the whimsical. My idea of a perfect evening? Feasting on takeout while binge-watching my favorite American dramas. I'm a perennial "diet-starter," always on the brink of weight loss, yet never quite reaching the finish line. With a recent dental setback, my culinary adventures are on a temporary hiatus. "Alle Hindernisse können mich zerstören." In the long battle within, I resolve to be myself. Life's a buffet, and I'm just here to sample the dishes!

Oct 31, 2024

I listened to a few presentations presented in English.

Nov 4, 2024

I read a long English speech.

Nov 6, 2024

I read a few English passages.

Nov 7, 2024

I listened to a few presentations presented in English.

Nov 8, 2024

I learned nothing.

Nov 9, 2024

I did a C-E translation.

Nov 10, 2024

I learned nothing.

Nov 11, 2024

I learned nothing.

Nov 12, 2024

I gave a class in English to high schoold students.

Nov 16, 2024

I did a C-E translation and an E-C translation.

Nov 18, 2024

I read an English essay.

Nov 19, 2024

I proofread my translation tasks.

Nov 20, 2024

I gave a class in English to high schoold students.

Nov 21, 2024

I listened to a few presentations presented in English.

Nov 22, 2024

I learned nothing.

Nov 23, 2024

I listened an English speech about teaching methods.

Nov 24, 2024

I did a C-E translation and an E-C translation.

Nov 25, 2024

I read an English article.

Nov 26, 2024

I memorized dozens of vocabs.

Nov 27, 2024

I learned nothing.

Nov 28, 2024

I learned something interesting about Tujia Nationality.

Nov 29, 2024

I played majhong all night, definitely a good time.(except the losing part)

Nov 30, 2024

Still majhong party!!!

Dec 1, 2024

A lovely day!! I went out for hiking!!!

Dec 2, 2024

I post-edited a E-C translation. The original text is about language and magic, maybe I'll take some time to dig in!

Dec 3, 2024

I learned from my fellow students who shared some thoughts about the translation of the aforementioned novel.

Dec 4, 2024

I learned how to polish a paper. It's all about critical thinking.

Dec 5, 2024

Presentation day!!! The presenter were all so thoughtful.

Dec 6, 2024

I played majhong with my friends all night and we all brought so many snacks. What a night!!!

Dec 7, 2024

I haven't slept a wink the last night, so today I just curled up in bed and recharged myself.

Dec 8, 2024

I read some bilingual materials about "The Return of the Pearl Princess".

Dec 9, 2024

I did a C-E translation.

Dec 10, 2024

I had been requested to prepare some examination questions and I finally finished it right before the deadline.

Dec 11, 2024

I binge watched Youtube videos today, mostly about mokbang and make-up.

Dec 12, 2024

I was looking forward to today's presentations earlier and they are truly interesting. And I got a few prizes, hooray!

Dec 13, 2024

I read a few pages of an English novel. It's quite intriguing, but I just have no patience.

Dec 14, 2024

Saturday is fun!! I pulled an all-nighter playing mahjong.

Dec 15, 2024

I continued a few pages of the novel. Got some new words.

Dec 16, 2024

I did a C-E translation. The teacher asked us to have a further look and give pros and cons about the translations, and it definitely helped!

Dec 17, 2024

Today, Mr. Hu shared a lot of tips in his language-learning journey, among which I resonated most is: interest matters!!

Dec 18, 2024

I read an article about how to achieve a more balanced lifestyle.

Final Paper(English version)

Telecast: The Return of the Pearl Princess

(Zeng Wenjing/Zoey)

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.

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.

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:

1. Word parody

(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'!"

(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!"

2. 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."

(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. Parody of Paragraphs

(1) She couldn't help but feel a sense of sorrow and murmured to herself, "Descrying nor pig’s feet. I muse on my empty stomach. Nor those roast ducks. And, all alone, grieve mutely with tears for my lorn star."

(2) (Xiaoyanzi) then recited, "Descrying nor the ancients of long yore. I muse on the eternity of heaven and earth. Nor those that are to come in the future far. And, all alone, grieve mutely with tears for my lorn star, renouncing the palace and the world."

Both of these examples are parodies of Chen Zi'ang's "Song on Ascending the Youzhou Terrace," which goes, "Descrying nor the ancients of long yore. I muse on the eternity of heaven and earth. Nor those that are to come in the future far. And, all alone, grieve mutely with tears for my lorn star." Here, the parody is of a complete chapter. It's clear that the parody in this case is not entirely different from the original.

These rhetorical methods give Xiaoyanzi's language its unique charm, humor, and depth(Li Dan,2013). More significantly, this distinctive language, combined with other means fully embodies Xiaoyanzi's straightforward yet mischievous, simple yet cunning, stubborn yet capricious character, always hoping to be right but often ending up making a fool of herself. Such characters are common in real life, and it's likely that every audience member knows someone like this(Li Zeqin,2011). This is perhaps the primary reason why the audience so adores Xiaoyanzi.

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.

The natural scenery in the drama is breathtaking, ranging from the desolate desert to the northern landscape, from the golden autumn to the vibrant spring. The series also portrays a rich tapestry of human landscapes: the majestic imperial palace, the bustling market, the elegant imperial garden, the simple farmhouse, the noisy tavern, and the long, quiet ancient road. The application of modern technology, such as the computer-generated butterflies accompanying Hanxiang's dance, adds a touch of magic, making the audience feel as if they are in a fairyland(Liu Xianghong&Zhang,2000). This allows viewers to fully appreciate the natural beauty and the masterpieces of architectural, garden, carving, and painting arts.

"The Return of the Pearl Princess" bridges the gap between pure literature and the mass market, providing entertainment that elicits laughter and joy while also offering the pleasure of aesthetic appreciation and the enjoyment of beauty.

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."

Xiaoyanzi is a comprehensive renegade against authority, tradition, and feudalism; she upends the master-servant dynamic at court in favor of equality for all; she repeatedly defies the moral dogma; she fearlessly advocates for justice, challenging the patriarchal feudal system of polygamy; and her irreverent attitude towards aiding the weak and impoverished further subverts the traditional image of a woman adhering to the “three obediences and four virtues”. Indeed, the popularity of such a groundbreaking character as Xiaoyanzi at the turn of the twentieth century reflects the evolving recognition and affirmation of women's images in modern society, symbolizing the pursuit of pluralistic values in an ever-changing social landscape.

Additionally, 'The Return of the Pearl Princess' offers a more nuanced portrayal of women and their interactions. The series showcases the sincere and devoted sisterhood between Ziwei and Xiaoyanzi, the unshakable loyalty and trust between Ziwei and Jinsuo, the passionate love triangle involving Ziwei and Xiaoyanzi for Hanxiang, and Qing'er's magnanimous sense of justice and righteousness, all of which repeatedly demonstrate a bond that transcends both kinship and romance. This allows for a profound friendship among women of the same generation without them necessarily being rivals in love.

From a feminist perspective, an ideal representation of gender should depict the multifaceted roles that genders play across different spheres, with the meaning of gender being continuously reconstructed and negotiated. Only when female characters are able to assert their abilities in the public sphere while remaining attuned to their private sphere can a diverse and rich tapestry of female roles be presented. And when the relationship between women and men is defined by more than just love, can the political ideal of gender equality be truly realized.

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.

This trait is not only evident in the character of Xiaoyanzi but is also shared by Erkang, Ertai, Ziwei, Jinliao, Liuqing, Liuhong, Xiangfei, and Lingfei. Furthermore, the drama skillfully weaves the individual's pursuit of subjective consciousness and life's value with a deep care and love for others. This integration imparts a profound human and social beauty to the narrative, readily stirring the longing and desire of modern audiences for an idealized realm of life.

Terms and Expressions

1.《还珠格格》The Return of the Pearl Princess

2.仿拟parody

3.古装剧costume drama

4.女性主义feminism

Questions

1.Which character in "The Return of the Pearl Princess" do you like best? Why?

2.Which couple in "The Return of the Pearl Princess" do you like best?

3.What do you think the MBTI personalities of the main characters in "The Return of the Pearl Princess" would be?

Answers

(The questions above are open-ended and subjective; as long as your answers are reasonable, they are acceptable.) 1.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.

2.My heart flutters most for the mischievous duo, Xiaoyanzi and Yong Qi. They're like two peas in a pod of palace-sized trouble, always ready to stir up a royal ruckus, yet their love story melts the imperial ice with its fiery passion and unwavering loyalty. They're the dynamic duo that proves even in a world bound by ancient rules, love can still kick up its heels and dance to its own tune!

3.Here’s a speculative take on what the MBTI types of the main characters might be: Xiaoyanzi---ENFP; Yong Qi---ISFJ; Zi Wei---INFP; Erkang---ESTJ.

Reference

[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.

[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.）

[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.）

[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.）

[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.）

[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

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

Final Paper(Chinese version)

电视节目：《还珠格格》 （曾文静）

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”。

在宫中，小燕子闯下诸多祸事，她不懂宫中规矩，和皇后、容嬷嬷等传统的宫廷势力产生诸多冲突。而紫薇和她的朋友们也进入宫中，她们一边要帮助小燕子应对宫中的复杂局面，一边还要寻找机会向乾隆说明真相。在这个过程中，小燕子与五阿哥永琪情投意合，紫薇也和尔康产生了深厚的感情。他们经历了许多误会、陷害、危机，包括被皇后等人设计陷害，以及各种宫廷斗争，但凭借着彼此之间的情谊和智慧，一次次化险为夷。同时，也展现了宫廷中人物的情感纠葛、复杂的人际关系以及格格阿哥们追求自由和真爱的故事。

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。

1.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!”

2.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。

3.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。

以上几种修辞方式，使小燕子的语言是那么别致，那么幽默，那么深入人心。更为重要的是，这种特色语言， 配合着其他手段(主要是行动)，就完全展现了小燕子是一个率直而调皮、单纯而狡黠、固守而善变、总望正确而总出洋相的村舍人物。这类人物在实际生活中并不少见，每一位观众的身边，可能都有此类人物的身影。这大概正是观众特别喜欢小燕子的重要原因。

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。

小燕子初闯入观众视线，身着大红新娘装、大闹婚宴，其快快乐乐、敢做敢为、侠骨柔肠的性格可见一斑，尔后身着牙红底白圆点汉装、头梳两条小辫在街头卖艺、活泼、俏皮、机智、可爱；围场被射时着一袭白色衣衫，俨然一只纯洁受难的小羔羊，入宫后包括囚车上都着大红色旗装，既符合她高贵的格格身份，更烘托出她轰轰烈烈、潇潇洒洒的性格。

该剧的自然风景优美，时而是“大漠孤烟直，长河落日圆”的塞外沙漠；时而是“一折青山一扇屏，一湾碧水一条琴”的北国风光；时而是“霜叶红于二月花”的金色秋天；时而是“微风燕子斜”的明媚春天。同时也展示了一幅幅人文景观：威严的皇宫、热闹的集市、高雅的御花园，古朴的农家院、喧哗的酒楼、幽长的古道。尤其是引入现代科技：含香翩翩起舞时，电脑制作的美丽蝴蝶轻盈相伴，令观众如入仙境，充分领略了自然美景及建筑艺术、园林艺术、雕刻艺术、绘画艺术的杰作。

《还珠格格》填补了纯文学与大众市场的隔膜和疏离留下的大片空白，能让人哈哈大笑，能让人痛快酣畅，同时得到美的愉悦，美的享受。

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。

当琼瑶把一位具有强烈民粹背景与豪放性格的民间女子意外地错置在一个标榜正统权威与封建礼教的紫禁城时，已为戏剧性本身埋下了潜在的张力与冲击。而这场错误邂逅下所引发的种种荒唐和冲突，自然也产生了无数的笑料。“小燕子这个活泼淘气、鲁莽任性，一天到晚要打架，随时随地闹出笑话的女孩子，几乎在我以前的作品里很难找到。” （琼瑶）

小燕子全面性地反权威、反传统、反封建，她颠覆宫廷中的主仆尊卑观念而强调人人平等，她不时反抗皇后、老佛爷、容嬷嬷的道德教条与礼教管束，她勇于仗义执言，挑战三妻四妾的封建父权，她更有济弱扶贫、嫉恶如仇的胸襟，这种表现再次颠覆了传统女性三从四德的形象。其实，像小燕子这样一个突破性的角色，在二十世纪末受到大家的喜爱其实正反映出了现代人心中所认同与肯定的女性形象具有种种的可能，象征了社会变迁下，人们追求多元价值的趋势。

除此之外，《还珠格格》也提供了较多元的女性形象刻画和角色互动。在剧中，我们可以见到紫薇和小燕子之间姐妹情深的真诚和付出，紫薇与金锁之间牢不可破的忠诚与信任，紫薇与小燕子为了含香所表现的赴汤蹈火情义，以及晴儿深明大义的宽怀情操，都再三表现了超越亲情与爱情的胸怀。使得同辈女性之间可以存在深厚的情谊，而不必然是情场上的竞争者。

从女性主义的角度而言，理想的性别再现应该是多方面地呈现性别在不同场域中所扮演的多元角色，而性别的意义也应在不断地变动中进行重构与磋商。唯有女性人物能够进入公共领域展现其能力并且也能关照其在私有领域中的脉动，才能呈现多元而丰富的女性角色，而当女性与男性的关系不再单只是建立在情爱上时，两性平等的政治理想才有真正实现的可能。

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。

这种社会心理，在青少年身上体现得更为鲜明而突出。《还珠格格》顺应了这种社会心理。剧中塑造的几个年轻人物，主体意识都非常浓，以自我为本位。他们敢说敢做，蔑视权威，不惧宫廷法规禁令的威严，任自己的个性得到充分发展，他们无拘无束，全然按照自己的思想与愿望去拼搏，努力追求生命 存在的价值，追求和张扬生命主体的 意义。这不仅体现在小燕子这个人物身上，而且尔康、尔泰、紫薇、金锁、柳青、柳红、香妃、令妃等都得到了充分的体现。而且剧作将个人对主体意识的张扬、生命价值的追求与对他人的爱、对他人的关心有机地结合在一起，使之具有了一种人情美、社会美， 容易勾起现代人对理想的人生境界的憧憬与向往。

问题

1.你最喜欢《还珠格格》中的哪个角色？为什么？

2.你最喜欢《还珠格格》中的哪对情侣？

3.您认为《还珠格格》中主要人物的 MBTI 性格是什么？

答案

(以上问题为开放性主观题，只要答案合理，均可接受）。

1.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。

2.我最喜欢的是小燕子和永琪。他们的情感纯真而深刻，纯粹而坚定，虽然随时都会在紫禁城里引起骚乱，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。他们永远充满活力，即使在一个被规则束缚的世界里，他们的爱情依然可以翩翩起舞！

3.以下是对主要人物 MBTI 类型的推测： 小燕子--ENFP； 永琪--ISFJ； 紫薇----INFP； 尔康---ESTJ。

AI声明

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。