在党的二十大报告中，习近平总书记指出，要“坚守中华文化立场，提炼展示中华文明的精神标识和文化精髓”，并再次强调了“创造性转化、创新性发展”的任务，以此凝心聚力，不断提升文化软实力，夯实文化自信和中华文化影响力。仙侠剧是极具中国美学特色的电视剧类型，蕴含着丰富的中国传统文化因子，具有强大的市场活力和独特的审美价值，是中国传统文化在当代社会进行创造性转化和创新性发展的典型案例。自2005年依托游戏改编而来的古装仙侠剧《仙剑奇侠传》横空出世，近二十年间出现了多部深受国内外观众喜爱的“爆款”影视作品。2015年，根据网络文学改编而成的仙侠剧《花千骨》塑造了坚韧倔强、敢爱敢恨的女主形象，其热播标志着国产仙侠剧“大女主”时代的来临。在女性主体意识、性别意识觉醒的社会语境下，从女性主义叙事的理论视角研究国产仙侠剧，具有理论和实践的双重意义。

本文以2005年以来豆瓣评分5.5以上的top20热播国产仙侠剧为研究对象，并以2015年为分界点，重点关注2015年后的仙侠剧中第一主角的角色性别设置的变化，以女性主义叙事学理论切入，利用文本分析、案例分析的研究方法分析国产仙侠剧叙事策略，总结叙事经验，为之后的仙侠剧生产实践提供借鉴。

本文一共分为五大章节，绪论部分分为研究背景及意义、国产仙侠剧和女性主义叙事学研究综述两部分。第一章阐述国产仙侠剧的发展历程，包括概念界定、创作概貌、热播缘由三部分。对仙侠剧发展概况的整体把握为下文的研究打下基础。第二章以苏珊·兰瑟关于女性主义叙事学内涵的阐释为基础，从故事层面切入，通过叙事语境、叙事人物、叙事情节三部分对国产仙侠剧故事层面的叙事进行研究分析。研究可得，仙侠剧中的叙事人物和叙事情节随叙事语境的流变发生变化，其变化与消费社会下女性独立意识的觉醒、社会地位的提高密切相关。第三章从话语层面切入，通过叙事视角、叙事声音、叙事结构三部分对国产仙侠剧话语层面的叙事进行分析。研究可得，叙事视角和叙事声音的选择与叙述者性别相关，立足女性叙事视角，能够彰显女性性别主题，消解男性话语权威；三种不同的叙述声音分别体现了三种女性话语权威的自我建构；叙事结构的多样更丰富地讲述了女性故事。第四章将在前三章研究的基础上与社会文化语境相结合，研究国产仙侠剧中女性主义叙事的内在逻辑与创作症结，并提出发展对策。

国产仙侠剧根植于中国古代传统文化的土壤，迸发于时代新兴网络文化的大地，在取得令人艳羡的商业价值的同时，在艺术价值上的耕耘依然道阻且长。仙侠剧需要向中华优秀传统文化借力，努力开辟出一条格局高远、文化深厚的新型创作路径。讲好独具特色的中国仙侠故事，传递中国仙侠声音，宣传中国仙侠文化。作为我国“仙”文化和“侠”文化的独特载体，期待在未来看到更多收视口碑双丰收的优秀仙侠作品。

In the report of the 20th Party Congress, General Secretary Xi Jinping pointed out that it is necessary to "adhere to the Chinese cultural position, refine and display the spiritual identity and cultural essence of Chinese civilization" and re-emphasized the task of "creative transformation and innovative development", so as to concentrate our efforts and continuously To enhance the cultural soft power, consolidate cultural confidence and Chinese cultural influence. Immortal drama is a drama genre with great Chinese aesthetic characteristics, rich in traditional Chinese cultural factors, with strong market vitality and unique aesthetic value, and is a typical example of creative transformation and innovative development of traditional Chinese culture in contemporary society. Since the emergence of the ancient fairy drama "Legend of the Immortal Sword" based on the game in 2005, there have been a number of "hit" movies and TV works loved by domestic and foreign audiences in the past two decades. Its popular broadcast marked the advent of the era of "big female lead" in domestic fairy dramas. In the social context of the awakening of female subject consciousness and gender consciousness, it is of both theoretical and practical significance to study domestic fairy dramas from the theoretical perspective of feminist narratives.

This paper takes the top20 popular domestic fairy dramas with Douban ratings above 5.5 since 2005 as the research object, and takes 2015 as the dividing point, focusing on the changes in the gender setting of the first protagonist's role in fairy dramas after 2015, and uses feminist narrative theory to cut through, analyzes the narrative strategies of domestic fairy dramas using the research methods of text analysis and case analysis, summarizes the narrative experience, and provides This paper is divided into five major chapters, including the introduction and the introduction.

This paper is divided into five chapters, with the introductory part divided into two parts: background and significance of the study, and a review of domestic fairy dramas and feminist narrative studies. The first chapter explains the development of domestic fairy dramas, including the definition of the concept, the overview of creation, and the reasons for the popularity. The overall grasp of the development of fairy dramas lays the foundation for the following study. Based on Susan Lancer's interpretation of feminist narratology, the second chapter starts from the story level and analyzes the story level narratives of domestic fairy dramas through three parts: narrative context, narrative characters, and narrative plot. The study concludes that the narrative characters and narrative plots in fairy dramas change with the flow of narrative contexts, and their changes are closely related to the awakening of women's independence and the improvement of their social status in the consumer society. Chapter 3 analyzes the narratives of domestic fairy dramas at the discourse level through three parts: narrative perspective, narrative voice and narrative structure. The study concludes that the choice of narrative perspective and narrative voice is related to the gender of the narrator, and the female narrative perspective can highlight the female gender theme and dissolve the male discourse authority; the three different narrative voices reflect the self-construction of three female discourse authorities; the variety of narrative structures tells the female story more richly. Based on the research in the first three chapters and combined with the socio-cultural context, the fourth chapter will study the internal logic and creative crux of feminist narratives in domestic fairy dramas and propose countermeasures for development.

While domestic fairy dramas are rooted in the soil of ancient Chinese traditional culture and burst into the earth of the emerging network culture of the times, they have achieved enviable commercial value while still struggling with artistic value. Immortal dramas need to borrow strength from the excellent Chinese traditional culture, and strive to open up a new creative path with lofty pattern and profound culture. We should tell unique Chinese immortal stories, convey the voice of Chinese immortals and promote Chinese immortal culture. As a unique carrier of China's "immortal" and "chivalrous" cultures, we look forward to seeing more outstanding immortal works with double success in terms of ratings and reputation in the future.