The issue of marriage and family has been an eternal new topic since ancient times up to now. A marriage and family culture history is also a difficult struggle history of the female growth. From the poems of“Abandoned Wife” and“Scorned Wife” in the Book of Songs thousands of years ago to the marriage ethics TV series today, each recounts woman hardships in every little breakthrough on the self-seeking way. How can women really find themselves, from the subordinate “otherness” return to subject“I” status? Under the pen of Ibsen Nora resolutely left the door without prepa-ration, with apparent traces of anger and emotional impulse rather than a real rational self seeking. On the contrary, the mother in the TV drama My Father and Mother walks out of the marriage she has guarded for half of her life in an unusu-ally calm manner. As a female image of self-love, self-esteem, self-confidence and self-improvement, with a smile she leaves her beloved husband, declaring a successful new era Chinese type “Nora” exodus.%婚姻家庭问题是一个亘古衡新的话题，一部婚姻家庭文化史也是一部女性艰难成长奋争的历史。从几千年前《诗经》的“弃妇”诗“怨妇”诗到今天电视荧屏上的婚姻伦理剧，无不诉说着女性在自我寻求路上每取得一点点突破的艰辛。女性如何才能真正找回自己，从从属的“他者”身份回归主体的“我者”地位？易卜生笔下的娜拉毫无准备地决然甩门离去，显然带有赌气式的感性冲动的痕迹，而不是一种真正理性的自我的追寻。与此相反，电视剧《我的父亲母亲》中的“母亲”用异常平静的方式从守护了半生的婚姻中走出，以一个自信的自强的自尊的自爱的女性形象从挚爱的丈夫身边微笑着离去，宣告了新时代中国式“娜拉”的成功出走。
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