The Study Of Narrative Criticism Of Chinese Family-ethics Teleplay Criticism

This paper takes narrative criticism of Chinese family-ethics teleplay criticism as a research object to discuss the features of development of it and analyze achievements and experience in criticizing narrative form and ideological meaning of Chinese family-ethics teleplay with the traditional Chinese narrative, classical narratology and post-classical narratology. This paper consists of introduction, text and epilogue.The introduction talks about the origin and object of research, describes the current state and literature of this topic and illuminates research purposes and significance. At the end, the introduction makes necessary explanation on research method of this paper.Chapter one is divided into three parts. Firstly, the concept, types and characteristics of Chinese family-ethics teleplay are defined and analyzed. The history and the characteristics of its development are described briefly. Secondly, some important concepts such as narrative, teleplay narrative and narrative criticism are defined, and the characteristics of Chinese family-ethics teleplay criticism such as periodicity, variety and mixture are described and analyzed. In addition, theoretical resources for Chinese family-ethics teleplay criticism, that is traditional Chinese narrative, classical narratology, post-classical narratology and film and television studies, are described briefly.Chapter two which focuses on Chinese family-ethics teleplay criticism of form analysis is divided into two parts. One studies the narrative criticism of Chinese family-ethics teleplay narrative form, embodied in analysis of the narrative perspective, narrator and narrative time. The other studies the narrative criticism of Chinese family-ethics teleplay story structure, embodied in analysis of figure, plot and narrative structure. Both traditional Chinese narrative and classical narratology are borrowed in the two parts. The criticism of story structure is higher than the criticism of narrative form, viewed from the achievements of the narrative criticism. Chapter three which focuses on Chinese family-ethics teleplay criticism of breaking through the pure formal analysis is divided into two parts. One studies feminist narrative criticism of Chinese family-ethics teleplay criticism, analyzing the reason for its rise, the similarities and differences between feminist criticism and it, the explanation of gender politics of Chinese family-ethics teleplay narrative and so on. The other studies Chinese family-ethics teleplay criticism with the colour of post-classical narratology, making concrete analyses of the explanation on ideology and cultural implication of Chinese family-ethics teleplay narrative criticism, the method of explanation and the innovation of critical method.In the part of epilogue, highlights, weaknesses, blind spots and the developing trends of Chinese family-ethics teleplay narrative criticism are summarized.