From The "house" To The Imagined "universe"

Ge Fei has been writing novels from the 1980s to the present.Thirty years is neither long nor short,which has been enough to make earth-shaking changes on the spatial image of the social life.Especially in the past two decades,the commodity economy and consumerism are rampant,and the imagination and efficiency of production are increasing day by day,which will provide people with more colorful space.In the face of the increasingly aggressive social space and the gradually shrinking personal space,and in the face of the fragmented life,the spatial narrative is superior to the temporal narrative,which emerges from the textual behavior of Ge Fei’s full-length novels.Ge Fei’s works after the 1990s are mostly full-length novels,in which the spatial images such as"boundary" and "house" can be clearly identified.This paper focuses on the spatial narrative in Ge Fei’s novels and analyzes how the description of spatial images and spatial relations in Ge Fei’s novels outline the scene of human existence,and ponder over such issues as life loneliness and individual fate.The first chapter analyzes the boundary narration of Ge Fei’s novels.This paper holds that the boundary is a starting point for ge fei’s novels to enter into spatial narration.The boundary is a metaphor about the boundary between people and times and people in different time and space,which also means the fragmentation and division of space.This chapter analyzes the physical space boundary in the novel,such as the "wind and rain corridor" and the "Huajia house" island,the spiritual space boundary that people in different times adhere to,and the inspiration of people’s " margin " experience to the spatial emotion.It tries to explain that the boundary in Ge Fei’s novels is exactly a kind of spatial thinking.The potential discourse of the boundary is not to stop,but to move forward.The boundary encourages people to overcome the inertia of being rigid and closed,to go deep into the whole body space,continuously exploring the vitality of existence.The second chapter discusses the "house narrative" of Ge Fei’s novels.This chapter thinks that the place of "boundary card" and the writing of "desire" appearing many times in Ge Fei’s novels actually point to the internal dimension of "home":desire is about going home,and the boundary card indicates the direction to go home,which is based on the longing and expectation of home and the spatial structure of the house that are repeatedly constructed in the novels.Based on this,this paper analyzes how Ge Fei’s novels redeem time with the spatial form of houses,how to show the deep correspondence between"house" and "home",and how to express the imagination and pursuit of human homeland.The third chapter analyzes the "fragmentary space" of Ge Fei’s novels.The space writing of contemporary literature narrative focuses on the tiny space and partial space.Ge Fei has shown his attitude towards space for many times,and he calls the current space situation "fragmented space".This chapter analyzes the emotional keynote of "wind" and "moon" from Ge Fei’s novels,and combines the two imageries "loft" and "islands" appearing throughout Ge Fei’s novels to examine how the space of novel writing personalized these two kinds of space of "building" and "island" in detail,and how to realize the transition from "island" to "land",in order to achieve the solution about the loneliness of human mind.This paper holds that the spatial narrative in Ge Fei’s novels conveys some certain spatial perception:how do people face the fragmented space in the torn age?How do they return to the home of the soul?What is the representation and content of the spatial meaning and spiritual energy of "house"in contemporary Chinese novels?This is about the trend of fiction writing and the survival of human beings.The new century novel writing reveals the ambition that Ge Fei desires to reform dimensional order.Taking space as the foothold goes deep into Ge Fei’s full-length novels,which also provides a different point for the exploration of Ge Fei’s "chinese-style" creation after the 1990s.