从电视剧看中国女性主义思想发展 As feminist ideals are moving forward in China, the images of heroines in
Chinese popular TV dramas are changing.
随着女性主义思想在中国向前发展，中国流行电视剧中女主角的形象也正在发生改变。
The latest example is Princess Weiyang. The TV drama, starring actress Tang Yan, tells a story of a princess’ revenge after her royal family was killed in a conspiracy for power.
最近的一个例子是《锦绣未央（Princess Weiyang）》。这部电视剧由唐嫣出演，讲述了一个公主在其皇室家人于一场阴谋篡权事件中被杀之后的复仇故事。
Unlike the quintessential female characters of shabaitian, which translates
literally to an innocent, white and sweet girl, Weiyang appears sophisticated and cunning and tactfully eradicates all her foes. Of course, she wins the love of the prince for her beauty and wisdom.
不像典型“傻白甜”（傻白甜即指性格天真、皮肤白皙、性格甜美的女性）式女性角色，未央显得非常复杂和狡猾、巧妙地消灭了她所有的敌人。当然，她也以自己的美丽和智慧赢得了皇子的爱。
Weiyang’s traits gratify the appetite of a modern female audience. The image is a fusion of Snow White and Princess Diana (the superhero from Wonder
Woman). They are born into prestigious families that bestow them respectable temperaments, and their active pursuit for self-empowerment and their brave fight to survive and prosper, are considered virtues to today’s women.
未央的性格特点满足了现代女性的胃口。她的形象是白雪公主和《神奇女侠》中超级英雄戴安娜公主的结合体。她们都出生在名门望族、品行端庄受人尊敬，她们主动追求自强，勇敢战斗求得生存和成功，而这一切都被今天的女性视为美德。
It is a positive change that the personalities of heroines are becoming more multi-layered. However, in my opinion, the female characters of today’s
Chinese dramas still lack of feminism representation. For example, TV dramas like Princess Weiyang are still set against the background of a male-dominated society where the prince saves Weiyang’s life several times. Such storylines prevail in most dramas set in China’s ancient times.
女主角的性格变得越来越多层次是一个积极的变化。然而在我看来，目前中国电视剧中的女性角色仍然缺少女性主义表现。举例来说，像《锦绣未央》这样的电视剧仍然是发生在一个以男性为主导的社会背景下，皇子曾经多次拯救未央的生命。这种戏码在大多数中国古装剧中都非常流行。
One aspect of feminism ideals is to emphasize that women have equal power to shape the world. While true love should be treasured, the unrealistic Mary Sue plot (heroine unreasonably wins love from many male characters) leads the story back to the ideology of men dominating the word.
女性主义思想的一个方面就是强调女性有平等的权力来塑造这个世界。虽然真爱应该被珍惜，但是不现实的玛丽苏（玛丽苏即指女主角不合理地赢得许多男性角色的爱）情节将故事带回到了男性主导世界的思想之中。
In the cultural industry, China is still in need of screenwriters who can break the shackles to make a real difference in shaping heroines. In 2016, TV drama Ode to Joy gained its highest ratings from the young Chinese audience, who often compares domestic dramas with their Western counterparts.
在文化产业方面，中国仍然需要可以打破束缚、在塑造女主角方面做出真正改变的编剧。2016年，《欢乐颂（ Ode to Joy）》从中国年轻观众那里获得了最高收视率，而这些人经常把国产剧和西方的电视剧放在一起比较。
The images of four female characters in the drama are more realistic, exuberant and attractive and even their personality flaws, vulgar sides, fears and twists are showcased.
剧中4位女性角色的形象更加现实、有生气、有魅力，甚至她们的人格缺陷、庸俗的一面、恐惧和扭曲也被展示了出来。
The ideas of feminism should not be depicted in the way fairytales are written. 女性主义思想不应该用编写童话故事的方式来描绘。
从电视剧看中国女性主义思想发展 As feminist ideals are moving forward in China, the images of heroines in
Chinese popular TV dramas are changing.
随着女性主义思想在中国向前发展，中国流行电视剧中女主角的形象也正在发生改变。
The latest example is Princess Weiyang. The TV drama, starring actress Tang Yan, tells a story of a princess’ revenge after her royal family was killed in a conspiracy for power.
最近的一个例子是《锦绣未央（Princess Weiyang）》。这部电视剧由唐嫣出演，讲述了一个公主在其皇室家人于一场阴谋篡权事件中被杀之后的复仇故事。
Unlike the quintessential female characters of shabaitian, which translates
literally to an innocent, white and sweet girl, Weiyang appears sophisticated and cunning and tactfully eradicates all her foes. Of course, she wins the love of the prince for her beauty and wisdom.
不像典型“傻白甜”（傻白甜即指性格天真、皮肤白皙、性格甜美的女性）式女性角色，未央显得非常复杂和狡猾、巧妙地消灭了她所有的敌人。当然，她也以自己的美丽和智慧赢得了皇子的爱。
Weiyang’s traits gratify the appetite of a modern female audience. The image is a fusion of Snow White and Princess Diana (the superhero from Wonder
Woman). They are born into prestigious families that bestow them respectable temperaments, and their active pursuit for self-empowerment and their brave fight to survive and prosper, are considered virtues to today’s women.
未央的性格特点满足了现代女性的胃口。她的形象是白雪公主和《神奇女侠》中超级英雄戴安娜公主的结合体。她们都出生在名门望族、品行端庄受人尊敬，她们主动追求自强，勇敢战斗求得生存和成功，而这一切都被今天的女性视为美德。
It is a positive change that the personalities of heroines are becoming more multi-layered. However, in my opinion, the female characters of today’s
Chinese dramas still lack of feminism representation. For example, TV dramas like Princess Weiyang are still set against the background of a male-dominated society where the prince saves Weiyang’s life several times. Such storylines prevail in most dramas set in China’s ancient times.
女主角的性格变得越来越多层次是一个积极的变化。然而在我看来，目前中国电视剧中的女性角色仍然缺少女性主义表现。举例来说，像《锦绣未央》这样的电视剧仍然是发生在一个以男性为主导的社会背景下，皇子曾经多次拯救未央的生命。这种戏码在大多数中国古装剧中都非常流行。
One aspect of feminism ideals is to emphasize that women have equal power to shape the world. While true love should be treasured, the unrealistic Mary Sue plot (heroine unreasonably wins love from many male characters) leads the story back to the ideology of men dominating the word.
女性主义思想的一个方面就是强调女性有平等的权力来塑造这个世界。虽然真爱应该被珍惜，但是不现实的玛丽苏（玛丽苏即指女主角不合理地赢得许多男性角色的爱）情节将故事带回到了男性主导世界的思想之中。
In the cultural industry, China is still in need of screenwriters who can break the shackles to make a real difference in shaping heroines. In 2016, TV drama Ode to Joy gained its highest ratings from the young Chinese audience, who often compares domestic dramas with their Western counterparts.
在文化产业方面，中国仍然需要可以打破束缚、在塑造女主角方面做出真正改变的编剧。2016年，《欢乐颂（ Ode to Joy）》从中国年轻观众那里获得了最高收视率，而这些人经常把国产剧和西方的电视剧放在一起比较。
The images of four female characters in the drama are more realistic, exuberant and attractive and even their personality flaws, vulgar sides, fears and twists are showcased.
剧中4位女性角色的形象更加现实、有生气、有魅力，甚至她们的人格缺陷、庸俗的一面、恐惧和扭曲也被展示了出来。
The ideas of feminism should not be depicted in the way fairytales are written. 女性主义思想不应该用编写童话故事的方式来描绘。