A Spacial Travel Far Away From The Real World

There is one kind of literary pattern in the palace of the world fancy literature, which tells such a story: accidentally, by some means somenbody enters into a world which is completely different from our world. The predecessors have named and concluded this literary pattern by using some overlapping but different methods. For the sake of making clear the connotation of this pattern, and after profitting from the hyperspace theory, the author has done a renewed survey and study on this literary pattern in the point of multidimensional space, and named it multidimensional space literary pattern. But how to distinguish a text which belongs to this pattern from other texts? We need to grasp the two following points: first, the real world is coexisting with other worlds in the text, and the natural laws of other worlds are completely different from the real world. Next, there are channels or critical points among those worlds, and the leading characters can get through those pipelines by some way to set out a long journey to the hyperspace. Due to its length limit, this thesis takes the texts of English literature from 1860's to 1960's as the object of study.By using the method of Trinity, this article is divided into three chapters, all of which take multidimensional space literary pattern the heart of this thesis, carries a stereometric dissection on this topic from three aspects. Chapter One makes a study on the headstream and literary elements of this literary pattern. Chapter Two focuses on the question of three artistic techniques of this literary pattern. Chapter Three studies on the cultural tendencies of this literary pattern. This thesis has profited from and absorbed thinking methods of hyperspace theory, thematology, folk tale study, literary anthropology, structuralism, and post-colonial cultural studiesThe first section of Chapter One presents the physics origin of this terminology, and points out the coincidence between this physical terminology and thematology in combination with predecessors'literature research achievements,and probes into the feasibility of the introduction of this physical terminology.The first part of the second section points out that this literary pattern essentially has both the characteristics of the travel literature and the fancy literature, and it is the extending of travel literature in space dimensions. Together with Gulliver's Travels, Robinson Crusoe and any other navigation novel in the 18th century have a direct influence on English multidimensional space literary pattern from 1860's to 1960's. The second part elaborates the embodiment of literary elements of Utopia literature and Holy Bible literature in those texts.The first section of Chapter Two elaborates the question of narration direction.The plot of this literary pattern can be divided into outer-layer plot and inner-layer plot. According to the difference of the narration direction, the mode of connection between outer layer plot and inner layer plot can be divided into unidirectional type, bidirectional type and multi-directional type. The unidirectional type can be summarized as A world→B world. Furthermore, the unidirectional type can be subdivided into unidirectional-single tpye and unidirectional-multiple type.The structure of unidirectional-single type is outside→inside or outside→inside→outside; the structure of unidirectional-multiple type is outside→inside→outside→inside→outside.The bidirectional type can be summarized as: A world←→B world. Bidirectional type can be subdivided into bidirectional-single type and bidirectional-multiple type.Multi-directional type can be summarized as: A world←→B world←→C world.The second section demonstrates the participation of time in the texts. The function of time mainly appears as time-difference question.The existence of time-difference enables the writer to complete his story-telling which is impossible under normal condition. It makes it possible for the extension of narrative time and it can participate the development of plot as a special role, causing the artistic effect of ups and downs of time.The third section elaborates the specific utilization of the artistic technique of transmogrification. Transmogrification can be divided into preexistent transmogrification and instant transmogrification; the characters of transmogrification can be human, animals, plants as well as the non-life objects.According to the difference of the driving influence, instant transmogrification can be divided into initiative transmogrification and passive transmogrification; according to the effect it produces, human's instant transmogrification can be divided into physical transmogrification, spiritual transmogrification, transmogrification of their faculties. Physical transmogrification can be divided into initiative physical transmogrification and passive physical transmogrification; spiritual transmogrification and the transmogrification of their faculties belong to passive physical transmogrification.The first section of Chapter Three demonstrates the origin of the cultural tendencies of this literary pattern. The racial origin of the imperialism complex lies in the inherent white-centered complex in European history, after its combination with colonial enterprise of Britain, the imperialism complex come into being, which deeply hides in the navigation novels, and this kind of context still exists in English multidimensional space literary pattern.Next, the Christianity-centered thought caused the westerners including English people an ingrained Savior consciousness in their minds, and this kind of consciousness exists in all kinds of English literature texts, which both has its own independence and the very complicated relation with the imperialism complex.The second section demonstrates the embodiment of these two cultural tendencies basing on the analysis of different texts. Some texts obviously embody imperialism complex; some texts apparently embody Savior consciousness; and other texts present both of them under mixed state.