From "Flower Street" To "Jerusalem"

Time and space are two important dimensions of human perception and grasping the world.Xu Zechen is a writer with a strong sense of time and space.He not only draws on the nutrients of Chinese traditional narration,but also refers to the creative skills of modern western novels,and forms a unique spatial narrative in his own novels.Based on the theory of spatial narration,this paper discusses the spatial narration of Xu Zechen’s novels through three chapters,and interprets the deep meaning of Xu Zechen’s novels in the sense of space.The first chapter studies Xu Zechen’s novel space and social connotation,mainly from three aspects: first,geoscience space and social culture,geochronology space is divided into macro space and micro space two levels.Macroscopical space is the choice of writer’s daily memory and life experience,which is constructed gradually by two big spaces: "Hua Jie" and "Beijing".The micro space mainly includes the old house of Hua Street and the rental house of "Beijing floating".The two levels of geochronological space not only become the scene or background of Xu Zechen’s novels,but also melt into the space construction of the novel,so that the space can be continuously expanded and enriched.Slowly touch the social and cultural context.The second is psychological space and social relations,using the psychological space produced by the characters in the specific social environment to analyze the social relations between people and their hometown,the city is full of tension,and the third is the sacred space and social belief.This paper explores how the secular physical space becomes a sacred space for religious salvation and fervent faith.The second chapter studies the space narrative strategy of Xu Zechen’s novels,mainly from the perspective of spatial narrative structure,perspective and sense of smell,explores how Xu Zechen’s novels use these artistic techniques to form the spatial effect of the text.Theme-parallel structure,circle structure and innovative "1 1" intertextuality structure to break the causality law of linear narration in traditional novels.He conveys that life is an outlook on life which is full of chance and difficult to grasp,and that contemporary life is a pluralistic world outlook.Then he fully mobilizes the reader’s senses and,on the one hand,grasps the physical connection with space from the angle of view.Although novels are often described in the first person Tell stories,but use parallel spaces to rent out houses and attic spaces,trees and flyovers to peek into the whole world,both to guarantee the truth of the narrative and to obtain the complete story,avoiding the problems of the particular perspective itself.On the other hand,they use smell to catch the smell in the air,and to build up the empty space which accords with the writer’s thinking pattern.The space of void and reality brings a sense of hierarchy to the novel.The third chapter discusses the literary significance of spatial narration in Xu Zechen’s novels.In his own creation,he shows the possibility of being different in literature.First,he adds to the space of the novel through the change of his individual sense of historical participation,and each brick,every tile,is actually a symbol of time.So that space and time in history can be integrated,consistent,from this space can describe the history of the form of time,reflecting Xu Zechen himself and the "after 70" generation of the correct way to open history.Secondly,Xu Zechen urban and rural mutual reference In his space writing,he conveys his understanding of the new vernacular literature.