随着中国改革开放的逐步推进，中国的文化开始逐渐与国际接轨，并在向外输出自己的文化的同时，也开始吸取和借鉴其他文化的元素。“病娇”是一个起源于日本流行文化的词语，用于形容那 些因为强烈的爱意进而产生了病态扭曲的心理的角色。随着网络文学、动漫、游戏等文化形式的兴起和中国女性主义的不断发展，“病娇”这一角色类型才逐渐在中国流行起来，在大众文化领域形成一股“病娇”文化风潮。本文将以“我妻由乃”为例，对动漫中的“病娇”人物形象建构从造型、性格、行为和剧情的角度进行研 究分析，揭示出“病娇”文化在视觉文化的凝视机制下给观众带来 的视觉快感和对主体欲望投射的满足，以及主体/客体之间关系被僭越、变得模糊的可能性，超越了传统性别话语建构的方式，从而在视觉文化中呈现出的一种主客边界不断重塑的复杂关系。

With China's gradual reform and opening up, its culture has gradually begun to converge with international standards, and while exporting its own culture abroad, it has also begun to absorb and borrow elements from other cultures. Sickly is a term that originated in Japanese pop culture and is used to describe characters who have developed a morbid and distorted psyche as a result of intense love. With the rise of online literature, anime, games and other cultural forms and the development of Chinese feminism, the character type of sickly petite has only gradually become popular in China, creating a trend of sickly petite culture in popular culture. This paper will take Gasai Yuno as an example and study and analyse the construction of the sickly character in anime from the perspectives of shape, character, behaviour and plot, revealing the visual pleasure and the satisfaction of the projection of the subject's desires that sickly culture brings to the audience under the gaze mechanism of visual culture, as well as the possibility of the subject/object relationship being arrogated and becoming blurred.