哈奈·吉奥加玛戏剧中的本土美学映照与共同体精神探寻  

Indigenous Aesthetics and Search for Community Spirit in the Drama of Hanay Geiogamah

作　　者：司高丽 郭英剑[1] Si Gaoli;Guo Yingjian

机构地区：[1]中国人民大学外国语学院,北京100872

出　　处：《河南社会科学》2025年第3期108-115,共8页Henan Social Sciences

基　　金：国家社会科学基金重大项目“美国族裔文学中的文化共同体思想研究”(21&ZD282)。

摘　　要：哈奈·吉奥加玛的戏剧作品不仅是美国印第安戏剧的里程碑,更是本土美学的鲜明体现。本土美学作为印第安共同体文化身份的核心表达,其探讨与实践对于共同体的发展具有深远影响。吉奥加玛的剧作揭示了印第安群体独特的审美观念和艺术形式,亦展现了本土美学特征如何与印第安共同体的社会结构、历史经验和精神信仰相互作用,进而塑造共同体的文化认同和凝聚力。通过其代表作《印第安人之躯》《雾号》和《49》,吉奥加玛分别展现了印第安人与土地的精神联结、对殖民历史的批判性反思,以及艺术和宗教仪式在社区治愈与团结中的力量。这些戏剧作品中体现的本土美学挑战了西方美学观念,为原住民社群通过戏剧实现文化保存、自我表达和社会参与提供了新的视角,在印第安共同体的发展中发挥着不可替代的作用。Hanay Geiogamah's dramas are not only a milestone in American Indian theater but also a vivid embodiment of indigenous aesthetics.As the core expression of the cultural identity of the Indigenous community,the exploration and practice of indigenous aesthetics have a profound impact on the development of the community.Geiogamah's dramas reveal the unique aesthetic concepts and artistic forms of the Indigenous people,and also demonstrate how the characteristics of indigenous aesthetics interact with the social structure,historical experience,and spiritual beliefs of the Indigenous community,thereby shaping the cultural identity and cohesion of the community.Through his representative works Body Indian,Foghorn and 49,Geiogamah respectively showcases the spiritual connection of Indigenous people with the land,critical reflection on colonial history,and the power of art and religious rituals in community healing and unity.The indigenous aesthetics reflected in these dramas challenge Western aesthetic concepts,providing a new perspective for indigenous communities to achieve cultural preservation,self-expression,and social participation through theater,playing an irreplaceable role in the development of the Indigenous community.

关 键 词：哈奈·吉奥加玛 印第安戏剧 本土美学 印第安共同体 

分 类 号：G1[文化科学]