在父权社会下快速成长的女性-开题报告

1.1 Research background

From ancient times to the present, countless literary writers have created various female characters. Under the patriarchal and patriarchal society, women have too many involuntary bodies, and too many female tragic characters have been portrayed in Chinese and Western literature. However, in the 21st century, with the rapid development of generations, renewal and iteration of thinking, the status of women is gradually rising, and equality between men and women is advocated. Equal pay for men and women has long since become a reality from a slogan. In modern society, women’s family status is very high, and there are more and more powerful women from all walks of life. Women's self-awareness has become stronger, hardworking, and their social status has risen rapidly. They have received the attention of most industries and re-examine the social value of women. It has been reflected in many literary works and major film and television works recently.

1.2 Research objects

The TV series "Game of Thrones" produced by the American HBO is based on the American writer George R. R. Martin's work is adapted from the European medieval large-scale epic fantasy work "A Song of Ice and Fire". The novel text "A Song of Ice and Fire" is currently one of the world's favorite magical novels. The first volume of the book series was published in 1996 and has been translated into more than 40 languages ​​so far. With "A Song of Ice and Fire", the author was shortlisted for the Hugo Awards 17 times and aspired four times. The American drama "Game of Thrones" has even won the Emmy Awards, the British Academy and the Academy of Motion Picture Arts Awards, the American Golden Globe Awards, the Annie Award and many other awards. The story of this play is a series of wars for the Iron Throne between nine families on Westeros under the background of patriarchal and patriarchal society. On the other hand, it is a war between humans and aliens. Winter is coming has become a classic line in the play, and everyone is waiting for the day when humans fight against ghosts. The drama has been filmed for ten years and has a total of eight seasons. The ups and downs of the plot are loved by the audience, and the ending is always unpredictable. The huge story system is sought after by readers all over the world. This article focuses on three female characters, Daenerys Targaryen, Sansa Stark and Arya Stark, and interprets the process of how the three female characters achieve their goals in a patriarchal society.

1.3 Research purpose

The author took "Game of Thrones" as a research object not by accident, but as a loyal audience of it, following from the first season to the eighth season. But the eighth season is the final season, and many viewers, including the author, feel a little regretful at the ending. John Snow killed his lover Daenerys Targaryen by himself, and she was also his aunt. The complex story system and the always unexpected plot development attract a wide audience. The play has attracted countless audiences to follow for many years, and one of the important reasons for the high score and good reputation is that the play has created many distinctive female characters, created many traditional and non-traditional female images, and their oppression in the patriarchal society Rise and resist, and grow rapidly after experiencing painful setbacks. The process from weak and helpless to strong and independent is fascinating. The play depicts the scene of Cersei Lannister and Targaryen vying for the Seven Kingdoms. It was in the Middle Ages and expressed the author’s advanced thought to fight against the traditional. This article focuses on the growth of female characters and how to achieve it after suffering setbacks and pains. The process of own goals and self-worth, trying to analyze the details and passages in the play to express the personality changes and ideological progress of female characters.

1.4 Research significance

As an epic drama, "Game of Thrones" is popular with audiences all over the world. Under his magical color coat, he expresses his criticism of realism. This article attempts to analyze the cultural connotation expressed by the growth of female characters, criticize the value expressed by the author, and select the essence and remove the dross. For example, domestic film and television dramas have expressed the growth of female characters from the original "Yi Lian Yu Meng" to "Chu Qiao Biography". They are no longer pure idol drama, and the heroine is no longer silly and sweet, but brave and daring. The girl who dares to break. Life is no longer an idol drama, and the values ​​of "Game of Thrones" are also very applicable to modern society. The play not only helps men and women to reflect on their own living conditions, but also helps to reflect on culture, race, and system. It can be used in life and film and television works in the future.

2 Literature review

2.1 Tragic women in a patriarchal society in literary research

Like Tess of the d'Urbervilles, a noble birth but a downright family, the upright and kind-hearted Tess was insulted and abandoned by Alec. In the end, she was convicted of killing a husband and a woman and was hanged. A beautiful, innocent, kind, and honest woman was driven to desperation by her parents' money worship, Alec's lust, Angie's hypocrisy, and social cruelty, and finally got such a tragic ending. Tragedy figures produced under the patriarchal and patriarchal society abound, like Esmeralda in Notre-Dame de Paris, like Fantine in Les misérables, they are all the products of tragedies in the patriarchal society.

2.1 Research situation

Whether at home or abroad, various studies on "Game of Thrones" and "A Song of Ice and Fire", on translation, translation, narrative strategies, narrative techniques, or the corresponding mythological prototypes of the characters, etc.

2.1.1 Status Quo of Domestic Research on "Game of Thrones"

After consulting the literature on Cnki and searching for the keywords "Game of Thrones" and "Song of Ice and Fire", I found that most of the research doctoral dissertations from 2013 to the present focus on the aspect of translation and the study of narrative methods. For example, Jiang Weizhi, Liaoning University, "Analysis of Narrative Skills in the Song of Ice and Fire" in 2015, Qiu Shunjing of Fujian Normal University, "Chinese Translation Strategies of "The Song of Ice and Fire" from the Perspective of Functional Equivalence" in 2016, Ran Dongqing, Hebei Normal University, 2018 "Chinese Translation of English Metaphors: A Case Study of the Chinese Translation of "Game of Thrones" from the Perspective of Reception Theory", Zhang Wei, Ningxia University, 2018, "On the Narrative of Death in the "Song of Ice and Fire"", 2019 Beijing Foreign Studies University Liu Yuanjie Subtitle Translation under Context Theory: Taking "Game of Thrones" as an Example", Li Xiaohong, "A Song of Ice and Fire" Narrative Research, 2019, Yan Xiaohan, Beijing Foreign Studies University, "Tuli Translation Normative Cultural Perspective Translation of Fantasy Literature——Taking "A Song of Ice and Fire: Game of Thrones" as an example"

2.1.2 Foreign research

The historical prototype of "Game of Thrones" is the British Red and White Rose War. Foreign studies have studied the similarities between many mythological prototype characters and the characters in the play, such as Cersei’s prototype analysis, which compares the queen Hera in ancient Greek mythology. Analyze the formation of Cersei's personality and the comparison of the personalities of their sons. In fact, the formation of Cersei's character has a lot to do with his father Tywin Lannister. At that time, as a commodity of marriage between families, women had no right to speak. She hoped to get the attention of her father and lover, but she didn't. When she was a young girl, the witch predicted that she would marry the king in the future, and that she would have three children but would die, and she would be replaced by a young and beautiful woman. She didn't believe it and actively confronted her destiny, but in the end she could not escape her destiny. Her resistance and subversion to the normal order of the patriarchal society at that time, her desire for power and cruelty made her the Queen of the Seven Kingdoms, and it was her cruelty that made her die. She combines violence, desire, love and destruction, and it is also the cause of her tragedy, and she is also a tragic figure in the patriarchal society.

2.2 Research methods

This article will use the literature review method, topic dispersion method, experience summary and the theory proposed by Simone de Beauvoir in "Second Sex".

2.3 Research summary

According to previous researches on "Game of Thrones" at home and abroad, scholars have studied the huge success of this TV series from various aspects, such as archetypes, translation, narratives, philosophy, female and male roles, but very few studies on women Completed in the role. Less attention has been paid to the research and analysis of the growth of female characters. This is a relatively new angle of topic selection, which will be helpful to the portrayal of female characters in Chinese literary works and film and television dramas in the future. At present, domestic film and television works rarely describe the growth process of women from weak to strong. The author believes that it is necessary to carry out in-depth exploration to enrich the research of "Game of Thrones".

3. How did the unified patriarchal society of China and the West form?

3.1 How did women in history fall into subordinate status

3.2 The label given to women by the patriarchal society, the wrong education

3.3 Women are commoditized and gendered

4 Feminism advocated by Simone de Beauvoir

5 The growth line of Daenerys Targaryen 

5.1 Rebirth from the ashes

5.2 Conquer the Slave Bay and free the slaves

5.3 The Meereen Crisis

5.4 Confrontation with ghosts

5.5 Confrontation with Cersei

6 How Sansa Stark became the King of the North

6.1 The lady in the house

6.2 Suffering

6.3 Sansa's Revenge on Ram

6.4 Independent Northland Wolf

7Alia Cuttack's Road to Vengeance

7.1 How to become the faceless

7.2 Destroying the Frey family

7.3 Killing the Night King

6 Conclusion 

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