莎剧中的空间与情感映射--以《泰特斯·安德洛尼克斯》和《哈姆雷特》为例  

Mappings between Space and Emotion in Shakespeare′s Plays:A Case Study on Titus Andronicus and Hamlet

作　　者：冯军[1] 王芳 FENG Jun;WANG Fang(Graduate School,Sichuan International Studies University,Chongqing 400031,China;Periodical Agency,Chongqing University of Technology,Chongqing 400054,China)

机构地区：[1]四川外国语大学研究生院,重庆400031 [2]重庆理工大学期刊社,重庆400054

出　　处：《黔南民族师范学院学报》2020年第5期55-59,共5页Journal of Qiannan Normal University for Nationalities

基　　金：四川外国语大学博士研究生科研创新重点项目“莎士比亚作品中的‘身—心’关系研究”(SISU2019YZ01)阶段性成果。

摘　　要：伊丽莎白时代的极简主义舞台风格并没有妨碍莎士比亚在戏剧创作中对空间场景的充分利用。相比于实体的舞台空间呈现,莎士比亚更善于通过演员台词制造虚拟的空间场景,继而借助空间场景来激发人物和观众的情感。如此,通常作为事件发生地的背景性空间场景,在莎士比亚戏剧中变成了塑造人物形象、提升观众体验、推动情节发展的前景性元素。The minimalism tradition of Elizabethan theater doesn′t restrict Shakespeare′s skillful utilization of space.Compared with the concrete space on stage,the imaginative spaces constructed by performer′s language are more important in Shakespeare′s plays.Because these spaces are usually concerned with certain kinds of emotion of characters as well as spectators.Space scenes are traditionally considered as the background and the place of events.However,when considered with emotion,these spaces may become foregrounding elements in shaping characters,improving spectators′experience and driving the plot.

关 键 词：莎士比亚 《哈姆雷特》 空间 情感 认知空间批评 

分 类 号：I561.073[文学—其他各国文学]