论印度古典梵语戏剧《沙恭达罗》的美学特征
发布时间：2018-10-13 17:12
【摘要】：迦梨陀娑是印度著名的诗人、戏剧家,生活于公元4、5世纪的印度笈多王朝时期,当时正值印度梵语文学发展至顶峰,迦梨陀娑所写的《沙恭达罗》是最具代表性的梵语戏剧作品。国内对《沙恭达罗》的研究集中在美学研究、人物形象研究和叙事艺术研究三方面,国外研究以美学研究和比较研究为主。结合国内外研究现状,虽然美学研究的成果比较多,但都拘泥于对作品某一美学特征的研究,缺乏全面深入的视野。本文以戏剧《沙恭达罗》为研究对象,全面系统地探讨作品的美学特征。首先对作品美的类型、美的表达和审美效应三方面美学特征进行细致解读,并进一步探讨了印度古典梵语戏剧学、印度宗教观和印度民族性格对《沙恭达罗》美学特征所形成的影响,这在学术界具有开拓性意义；此外,本文对《沙恭达罗》的戏剧美学类型和印度古典梵语戏剧美学特征也进行了思考,具有一定的独创性。 本文分四章展开论述。第一章归纳整理出戏剧《沙恭达罗》包含的三种美的类型,即自然美、女性美、和谐美。其中自然美以净修林为代表,突出以生命为美和以神圣为美的特征；沙恭达罗是女性美的代表,她的美与大自然融为一体,既有清丽脱俗的外表,又有强大的内心世界；和谐美包括自然与人的和谐、人与人的和谐、梵与我的和谐。这些美的类型构成美本身。 第二章对作品中诗性美的创作进行探讨,分别从情节设计、抒情风格、内心刻画和诗性修辞手法分析作品诗性的表达方式。正是创作方法上的诗性美特征使戏剧《沙恭达罗》具有独特的美感。 第三章分析戏剧《沙恭达罗》的审美效应。首先探讨《沙恭达罗》的戏剧美学类型,结合西方戏剧理论分析作品包含的悲剧性元素和喜剧性元素,提出《沙恭达罗》是一部融合悲剧元素的喜剧。在对戏剧美学类型形成定论的基础上,结合印度戏剧理论,分析《沙恭达罗》产生的以悲悯味和艳情味为主的审美效应。 第四章考察戏剧《沙恭达罗》美学特征的形成原因。印度古典梵语戏剧学本身发端较早,以《舞论》为代表的戏剧理论著作影响了印度梵语戏剧的实践发展；印度宗教观中苦难意识与乐观精神同在,使《沙恭达罗》具有悲喜融合的戏剧美学特征；而印度民族性格总是趋向宽容与和解,因此《沙恭达罗》追求和谐美的理想。 结语部分对戏剧《沙恭达罗》的美学特征进行总结,并将戏剧《沙恭达罗》与史诗插话《沙恭达罗传》进行比较。本文认为,《沙恭达罗》在人物形象塑造和情节设计两方面都更具美感；此外由这部戏剧引发思考,发现印度古典梵语戏剧大都以宫廷爱情为题材、悲喜融合为特征,在戏剧形式和内容上都受到了《舞论》的影响。
[Abstract]:Galidosa, a famous Indian poet and dramatist, lived in the Gupta dynasty of India in the 5th century AD, at the height of the development of Sanskrit literature in India. Gallithasa's Shakundara is the most representative Sanskrit drama. The domestic research on "Chakundaro" focuses on aesthetic research, character image research and narrative art research, while foreign studies mainly focus on aesthetic research and comparative study. According to the present research situation at home and abroad, although there are many achievements in aesthetic research, they are all confined to the study of a certain aesthetic characteristic of the work, and lack a comprehensive and in-depth view. This paper discusses the aesthetic characteristics of the works in a comprehensive and systematic way, taking the drama Chakundaro as the object of study. First of all, the types of beauty, the expression of beauty and aesthetic effects of aesthetic characteristics of the three aspects of a detailed interpretation of the aesthetic characteristics, and further explore the classical Sanskrit drama of India, The influence of Indian religious view and Indian national character on the aesthetic characteristics of Chakundaro is of pioneering significance in academic circles. This paper also thinks about the types of drama aesthetics and the aesthetic characteristics of classical Sanskrit drama in India. This paper is divided into four chapters. The first chapter summarizes the three types of beauty in drama, namely, natural beauty, female beauty and harmonious beauty. Among them, the natural beauty is represented by the net forest, which highlights the beauty of life and the beauty of the divine; the representative of the beauty of women is her beauty, her beauty is integrated with nature, which has a clear and refined appearance as well as a strong inner world. Harmonious beauty includes harmony between nature and man, between man and man, and between Vatican and me. These types of beauty constitute beauty itself. The second chapter discusses the poetic beauty of the works, respectively from the plot design, lyric style, inner portrayal and poetic rhetoric to analyze the poetic expression of the works. It is the poetic beauty of the creation method that makes the drama "Gongdaro" have a unique aesthetic sense. The third chapter analyzes the aesthetic effect of drama. Firstly, this paper discusses the types of drama aesthetics in Chakundaro, analyzes the tragic elements and comedy elements in the works combined with the western drama theory, and points out that Chakundaro is a comedy with tragic elements. On the basis of the conclusion on the types of drama aesthetics and combined with Indian drama theory, this paper analyzes the aesthetic effects of compassion and affectionate taste produced by Chakundaro. The fourth chapter examines the formation of aesthetic characteristics of drama, Chapongdaro. The classical Sanskrit drama of India itself started early, and the works of drama theory represented by "Dance Theory" affected the practical development of Indian Sanskrit drama, and the consciousness of suffering and the spirit of optimism existed in the Indian religious view. The drama has the characteristics of tragedy and joy, while the Indian national character tends to be tolerant and conciliatory, so it pursues the ideal of harmony and beauty. The conclusion summarizes the aesthetic characteristics of drama, and compares it with the epic interjection. In this paper, the author holds that "Chakundaro" has a more aesthetic sense in both the portrayal of the characters and the plot design. In addition, it is found that the classical Sanskrit drama of India takes court love as its subject matter and merges sorrow and joy as its characteristics. The form and content of drama are influenced by Dance Theory.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I351.073
本文编号：2269351
[Abstract]:Galidosa, a famous Indian poet and dramatist, lived in the Gupta dynasty of India in the 5th century AD, at the height of the development of Sanskrit literature in India. Gallithasa's Shakundara is the most representative Sanskrit drama. The domestic research on "Chakundaro" focuses on aesthetic research, character image research and narrative art research, while foreign studies mainly focus on aesthetic research and comparative study. According to the present research situation at home and abroad, although there are many achievements in aesthetic research, they are all confined to the study of a certain aesthetic characteristic of the work, and lack a comprehensive and in-depth view. This paper discusses the aesthetic characteristics of the works in a comprehensive and systematic way, taking the drama Chakundaro as the object of study. First of all, the types of beauty, the expression of beauty and aesthetic effects of aesthetic characteristics of the three aspects of a detailed interpretation of the aesthetic characteristics, and further explore the classical Sanskrit drama of India, The influence of Indian religious view and Indian national character on the aesthetic characteristics of Chakundaro is of pioneering significance in academic circles. This paper also thinks about the types of drama aesthetics and the aesthetic characteristics of classical Sanskrit drama in India. This paper is divided into four chapters. The first chapter summarizes the three types of beauty in drama, namely, natural beauty, female beauty and harmonious beauty. Among them, the natural beauty is represented by the net forest, which highlights the beauty of life and the beauty of the divine; the representative of the beauty of women is her beauty, her beauty is integrated with nature, which has a clear and refined appearance as well as a strong inner world. Harmonious beauty includes harmony between nature and man, between man and man, and between Vatican and me. These types of beauty constitute beauty itself. The second chapter discusses the poetic beauty of the works, respectively from the plot design, lyric style, inner portrayal and poetic rhetoric to analyze the poetic expression of the works. It is the poetic beauty of the creation method that makes the drama "Gongdaro" have a unique aesthetic sense. The third chapter analyzes the aesthetic effect of drama. Firstly, this paper discusses the types of drama aesthetics in Chakundaro, analyzes the tragic elements and comedy elements in the works combined with the western drama theory, and points out that Chakundaro is a comedy with tragic elements. On the basis of the conclusion on the types of drama aesthetics and combined with Indian drama theory, this paper analyzes the aesthetic effects of compassion and affectionate taste produced by Chakundaro. The fourth chapter examines the formation of aesthetic characteristics of drama, Chapongdaro. The classical Sanskrit drama of India itself started early, and the works of drama theory represented by "Dance Theory" affected the practical development of Indian Sanskrit drama, and the consciousness of suffering and the spirit of optimism existed in the Indian religious view. The drama has the characteristics of tragedy and joy, while the Indian national character tends to be tolerant and conciliatory, so it pursues the ideal of harmony and beauty. The conclusion summarizes the aesthetic characteristics of drama, and compares it with the epic interjection. In this paper, the author holds that "Chakundaro" has a more aesthetic sense in both the portrayal of the characters and the plot design. In addition, it is found that the classical Sanskrit drama of India takes court love as its subject matter and merges sorrow and joy as its characteristics. The form and content of drama are influenced by Dance Theory.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I351.073
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