作　　者： ;

机构地区： 广东外语外贸大学继续教育学院

出　　处： 《哈尔滨学院学报》 2010年第1期84-89,共6页

摘　　要： 文章在前人的研究基础上深入探讨了奥赛罗剧中的恶魔意象是如何起作用的问题,与以往的评论主要关注剧中意象的静态内容不同,在充分挖掘剧中恶魔意象的动态性或动力性特征的基础上详细论述了这一特征在剧中所起的作用。具体地说,恶魔意象在剧中起到推动戏剧动作的发展、引起并加剧戏剧冲突达到高潮的作用。它的作用模式主要表现在依阿哥作为恶魔意象的主体使用恶魔意象作用于布罗班修、卡西欧和奥赛罗,并引起他们的心理变化以及外部行为的变化。这种作用模式推动整个戏剧动作的发展。 In the history of Imagery criticism of Othello, critics have paid much of their attention to what functions imagery performs,while neglecting how imagery functions in various ways. The present study mainly focuses on the latter, and explores the various ways in which the diabolic imagery functions in the play. Previous researches focus their attention on the symbolic meaning and static contents of imagery, whereas the present research attempts to explore how the diabolic imagery as a dynamic force performs the function of driving forward the movement of the dramatic action of the play. The diabolic imagery functions in a specific mode that Iago uses the diabolic imagery to affect Barabantio,Cassio and Othello,to arouse their psychological action and even cause them to take physical action, thus driving forward the dramatic action towards its climax.

关 键 词： 奥赛罗 恶魔意象 戏剧动作

领　　域： [文学]