【摘要】：迦梨陀娑是印度著名的詩(shī)人、戲劇家,生活于公元4、5世紀(jì)的印度笈多王朝時(shí)期,當(dāng)時(shí)正值印度梵語(yǔ)文學(xué)發(fā)展至頂峰,迦梨陀娑所寫(xiě)的《沙恭達(dá)羅》是最具代表性的梵語(yǔ)戲劇作品。國(guó)內(nèi)對(duì)《沙恭達(dá)羅》的研究集中在美學(xué)研究、人物形象研究和敘事藝術(shù)研究三方面,國(guó)外研究以美學(xué)研究和比較研究為主。結(jié)合國(guó)內(nèi)外研究現(xiàn)狀,雖然美學(xué)研究的成果比較多,但都拘泥于對(duì)作品某一美學(xué)特征的研究,缺乏全面深入的視野。本文以戲劇《沙恭達(dá)羅》為研究對(duì)象,全面系統(tǒng)地探討作品的美學(xué)特征。首先對(duì)作品美的類型、美的表達(dá)和審美效應(yīng)三方面美學(xué)特征進(jìn)行細(xì)致解讀,并進(jìn)一步探討了印度古典梵語(yǔ)戲劇學(xué)、印度宗教觀和印度民族性格對(duì)《沙恭達(dá)羅》美學(xué)特征所形成的影響,這在學(xué)術(shù)界具有開(kāi)拓性意義；此外,本文對(duì)《沙恭達(dá)羅》的戲劇美學(xué)類型和印度古典梵語(yǔ)戲劇美學(xué)特征也進(jìn)行了思考,具有一定的獨(dú)創(chuàng)性。 本文分四章展開(kāi)論述。第一章歸納整理出戲劇《沙恭達(dá)羅》包含的三種美的類型,即自然美、女性美、和諧美。其中自然美以凈修林為代表,突出以生命為美和以神圣為美的特征；沙恭達(dá)羅是女性美的代表,她的美與大自然融為一體,既有清麗脫俗的外表,又有強(qiáng)大的內(nèi)心世界；和諧美包括自然與人的和諧、人與人的和諧、梵與我的和諧。這些美的類型構(gòu)成美本身。 第二章對(duì)作品中詩(shī)性美的創(chuàng)作進(jìn)行探討,分別從情節(jié)設(shè)計(jì)、抒情風(fēng)格、內(nèi)心刻畫(huà)和詩(shī)性修辭手法分析作品詩(shī)性的表達(dá)方式。正是創(chuàng)作方法上的詩(shī)性美特征使戲劇《沙恭達(dá)羅》具有獨(dú)特的美感。 第三章分析戲劇《沙恭達(dá)羅》的審美效應(yīng)。首先探討《沙恭達(dá)羅》的戲劇美學(xué)類型,結(jié)合西方戲劇理論分析作品包含的悲劇性元素和喜劇性元素,提出《沙恭達(dá)羅》是一部融合悲劇元素的喜劇。在對(duì)戲劇美學(xué)類型形成定論的基礎(chǔ)上,結(jié)合印度戲劇理論,分析《沙恭達(dá)羅》產(chǎn)生的以悲憫味和艷情味為主的審美效應(yīng)。 第四章考察戲劇《沙恭達(dá)羅》美學(xué)特征的形成原因。印度古典梵語(yǔ)戲劇學(xué)本身發(fā)端較早,以《舞論》為代表的戲劇理論著作影響了印度梵語(yǔ)戲劇的實(shí)踐發(fā)展；印度宗教觀中苦難意識(shí)與樂(lè)觀精神同在,使《沙恭達(dá)羅》具有悲喜融合的戲劇美學(xué)特征；而印度民族性格總是趨向?qū)捜菖c和解,因此《沙恭達(dá)羅》追求和諧美的理想。 結(jié)語(yǔ)部分對(duì)戲劇《沙恭達(dá)羅》的美學(xué)特征進(jìn)行總結(jié),并將戲劇《沙恭達(dá)羅》與史詩(shī)插話《沙恭達(dá)羅傳》進(jìn)行比較。本文認(rèn)為,《沙恭達(dá)羅》在人物形象塑造和情節(jié)設(shè)計(jì)兩方面都更具美感；此外由這部戲劇引發(fā)思考,發(fā)現(xiàn)印度古典梵語(yǔ)戲劇大都以宮廷愛(ài)情為題材、悲喜融合為特征,在戲劇形式和內(nèi)容上都受到了《舞論》的影響。
[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.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I351.073

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