【摘要】 《奥赛罗》中涉及巫术的讨论和用语深植于此时期的话语场域之中，将《奥赛罗》作为“巫术戏剧”来阅读，可有助于对其进行新的理解和阐释。本文首先从“勃拉班修和罗德利哥读的是什么”的文本问题出发，依据早期现代巫术和魔鬼学论著，重建“爱情咒术”的原意，继而将《奥赛罗》第一幕的三个场景视作此时期巫术案件的舞台再现，通过与实际发生的巫术审判之记录的对读，分析本剧的情节结构和具体用词的历史涵义。在“巫术戏剧”的观照之下，伊阿古的人物形象得以进一步解读，其戏剧意义也得以彰显。将《奥赛罗》放在16世纪的巫术话语中，才能看到巫术乃是本剧意义生产的重要来源。更多还原

【Abstract】 The discussions and discourse concerning witchcraft in Othello are deeply rooted within the discursive context of the period. Reading Othello as a “witchcraft play” can open up new avenues for interpretation and understanding. Building on this premise, the article begins with a textual problem—what have Brabantio and Roderigo read—and turns to early modern treatises on witchcraft and demonology to reconstruct the original meanings of “love charms.” It then interprets the three scenes of Act I in Othello as a theatrical re-enactment of contemporary witchcraft cases. Through a comparative reading alongside records of actual witchcraft trials, the article uncovers the historical significance embedded in the play’s plot structure and specific choice of words. From the perspective of a “witchcraft play, ” the figure of Iago can be further interpreted, and his dramatic significance more fully illuminated. It concludes that only by situating Othello within the sixteenth-century discourse of witchcraft can we see that witchcraft constitutes a crucial source of the play’s production of meaning.更多还原