空间是二十世纪九十年代叙事学转向以来的热门议题，空间叙事作为新兴理论学科在国内仍存在广阔的发展前景，本文选择金宇澄小说《繁花》作为研究对象不只是参考其获得第九届茅盾文学奖的优秀表现，更因为作品中独树一帜的空间运用。金宇澄在小说中塑造了很多种空间，参考龙迪勇和陈晓辉等人的空间理论，本文将小说中的空间分为具体和抽象空间，其中前者指物理和社会类型，后者为想象和故事类型，同时，金宇澄也将空间应用在了叙事技巧方面，体现为嵌套、双线并置结构和影像化的叙事，上述空间的呈现既是小说情节发展、人物表达的动力，也是公共权力思考、文化身份和故事主旨的载体。本文运用文本细读的方法，分析空间在小说中的形态、以及对叙事技巧、叙事功能的影响，以此突显《繁花》的独特性，并审视空间在叙事中的重要意义。

Space has been a popular topic since the turn of narrative studies in the 1990s, and as an emerging theoretical discipline in China, spatial narrative still has broad prospects for development. This paper chooses Jin Yucheng's novel Flowers as the object of study not only because of its excellent performance in winning the Ninth Mao Dun Literature Award, but also because of the unique use of space in the text. In this paper, the space in the novel is divided into concrete and abstract space, with the former referring to physical and social space and the latter to imagination and storytelling space, and Jin Yucheng also applies space to narrative skills, embodying nesting, double-line juxtaposition structure, and visual narrative. The presentation of the above-mentioned space is not only the driving force of the novel's plot development and character expression, but also the carrier of public power thinking, cultural identity and the main theme of the story. This paper uses a close reading of the text to analyze the shape of space in the novel and its influence on narrative technique and narrative function, in order to highlight the uniqueness of "Prosperous Flowers" and examine the significance of space in the narrative.