View On Spatial Form Of 1990s' Short Story

Abstract: Novel is a time-space art. Time study of novels is a very important part in novel aesthetics. The spatial form of novel exists in Chinese and western literatures, but there's less recognition and study on it.The spatial form of novel is not using environment or scene factors in novel, it mainly studies the novel's new character in narration sequence distortion and linearity vanishing. That is the novel's disintegrating traditional-narration sequence-cause and effect chain. Narration unit presents scattered and joined characters, and moving of linearity turn into spatial expanding in length and breadth. Short story is a literary form that fragments reflect panorama. It pays attention to nature of story, but it doesn't request the length, which is named temporal sequence. So the story of short novel is usually half-baked or fragment. It can only use these fragments to present writers' taste. In 1990s, facing miscellaneous, absurd and rupture realism society the writers show great interest and favorite to space and structure, and then in narrate characteristic they also receive unique history and culture tradition and aesthetics meaning. So I think that 1990s'short stories possess remarkably spatial art character under the influence of Chinese art tradition and unique thinking form. Some spatial arts, for example, Chinese painting, gardens art and montage, etc. also influent special form development in 1990s'short story.There are not systematic discussions on spatial form in Chinese traditional narration theory, and no related concept has been brought up. We use western traditional poetics theories to explain spatial form in a long term, but we haven't unveiled its true characteristics actually. In my paper I adopt some spatial concepts from Frank and also combine Chinese narration, culture, art and thinking tradition to analyze the spatial form character of 1990s'short story.The aim of 1990s' short-story spatial form is appreciating aesthetics. It tries to show abundant, vivid and direct-perceived daily life. It emphasizes that all arts connect and influence each other as a whole. Therefore, I believe that studying 1990s'short-story spatial form will be of great benefit to Chinese novel's spatial form development by utilizing Chinese and western traditional narration theories. The world of 1990s'short story is changing greatly, and more and more factors such as feeling, atmosphere and imago are contained in novel's internal construction. This diversification of structure and conformation reflect people to recognize existence environment and themselves. The spatial form of 1990s'short story is developing from surface to deep-seated, from plane to three-dimensional, from single to intersectional, from close to exoteric.