本文以英国当代小说家彼得?阿克罗伊德的小说《伦敦烈火》、《霍克斯默》、《迪博士的屋子》、《查特顿》、《丹?雷诺》、《弥尔顿在美洲》、《第一道光》和《英国音乐》为主要文本研究对象，以空间叙事为话题，探讨其中的共同议题——玄秘世界的空间关切。本论文围绕阿克罗伊德小说中玄秘世界的空间关切这一问题，以玄秘的空间形象、空间叙事策略、空间经验和叙事空间为总体结构框架全面立体透视彼得?阿克罗伊德新历史小说中的玄秘世界的空间书写现象，将系统总结、分析阿克罗伊德小说有关空间书写的陌生化处理方式，探讨其空间写作背后的玄秘主义空间写作理念，英国伦敦玄秘主义地理观念以及英国视像派传统对于英国线条审美诉求的空间表现；论文结合小说的文本实证，揭示了空间叙事实现的“暗恐”艺术审美效果和传递的主题思想。 阿克罗伊德的新历史小说空间形象作为其小说空间叙事研究凝练，归纳，总结，讨论了其中四种主要空间形象，包括迷宫形象、阴影形象、石头形象和监狱形象，对它们在小说中的意义做了细致的分析，深入挖掘了小说空间形象这一重要形式背后的主题意蕴和叙事功能，充实对该领域空间形象的研究内容，为本论文对于整个阿克罗伊德小说的空间叙事研究打开缺口。参照列斐伏尔空间理论中的“表征空间”与“空间表征”理论，笔者认为，空间形象既是一种空间表征也是一种表征空间。 阿克罗伊德的新历史小说中经常出现几种典型的空间叙事策略。它们分别是：其一，空间的时间化；其二，空间的并置；其三，空间的叠加；其四，空间的移动；其五，空间的映射；其六，空间的循环；其七，空间的改造和重置。此章是对阿克罗伊德小说空间化叙事策略的综合考察,试图探索小说空间化叙事策略与小说的主题、文化内涵以及审美效果之间的内在联系，指出空间化写作策略是阿克罗伊德小说特有的玄秘特色的重要原因，是小说对语言和小说历时特征的共时性补充，也是阿克罗伊德小说中最具有后现代写作风格的元素，同时共谋参与建构英国文化中的心理地理学神话与传统，塑造一个永恒的伦敦城市玄秘空间的神话。 阿克罗伊德新历史小说中的空间经验和空间实践的具有重要的意义。步行（旅行）是人们日常生活中形成空间感的最主要的方式也是人们最基本的空间经验，它是人们在空间中穿越的最基本方式。在阿克罗伊德的小说中穿越城市空间和跨越异质空间的旅行是一个经常出现的典型故事素材，正是在这些空间之旅中，主体重构了对历史和过去的记忆，恢复了与传统和历史的关联，主体与他者发生了辩证的置换，从而将自我和他者更加真实的还原于空间经验和空间实践之中。旅行和行走成为一面镜像自我的镜子，一种救赎，恢复想象力的仪式。在叙事角度上，第一人称“我”的叙述视角缩短了读者和叙述者之间的叙事距离，让读者与叙述者的空间经验零距离接触，感受小说中城市空间背后蕴涵的历史意蕴，而第三人称“他”的叙述视角，则将空间经验的主体通过他者的视角呈现出来，这也与在空间越界的经验中主体成为被他者化的感受的主题相符。 阿克罗伊德小说中的六种典型的故事空间有重要意义。根据心理地理学的理论，可以发现具体的空间在影响和左右着人物的思想和心理，这些空间具有推动小说情节发展或者呈现小说故事空间文化背景、揭密小说的历史主题的重要作用。同时，阿克罗伊德小说的玄秘主义色彩与小说中的空间表现具有重要关联。阿克罗伊德小说中大的街道、地铁传递了城市生活的历史和过去及其传承关系，教堂和房屋属于神祗和世俗生活的空间，它们昭示了宗教空间和家庭空间在日常生活中的重要价值，梦想和宇宙空间传递了英国文学阿尔比恩的想象力精神。 通过论证，本文认为空间地理书写问题的背后是当代英国民族对于英国历史、文化、文学和文明传统的怀念，“暗恐”正是当代英国民族面临新世纪时对于自己民族身份和传统的焦虑，它是一种二律背反式的“非家幻想”，表现为历史与现实在文本空间叙事上的并置，作为街道、教堂、房屋等空间留给小说人物的是一种“熟悉”和“陌生”并存的空间感，因为它们承载了一个人少年的创伤记忆和成年的经验，不列颠民族昨日的辉煌和今日的衰落，置身于这些空间，主体才发现了长期蛰居隐秘于历史家宅中的另一个自我（同我），成就与之统一的完整自我。一个发现了自己昨天的个人才是一个真正多维存在的人，一个能够发现自己历史的民族才是一个真正的认识了自我的民族，一个恢复了记忆的民族才是一个完整的民族。在此过程中，空间的作用不容小视，它们像一面镜子让主体更清楚地认识了自我，是一种“历史”和“现实”交汇的存在，而对于象征英国文化繁荣时代的空间书写正是一种传承民族传统的文学方式。如此，一个人的故事变成了民族的寓言，个人的叙事变成了一个民族的叙事，个人的家宅成为了民族的家园，个人的回忆成为整个民族的历史。透过小说的空间意象、空间叙事策略、空间经验和故事空间，阿克罗伊德小说将空间还原给存在的时间维度，寄托了作者对人类生存状态的深刻思考，这也许才是阿克罗伊德新历史小说所要传达给读者的深意。本文认为，阿克罗伊德小说的空间叙事是对其空间理论的一种小说实践，是对其核心心理地理学核心概念地域之急、时空回响、霍加斯曲线及其痴迷的英国性文化主题的的空间再现和实践。

The dissertation concentrates on the spatial concern in the occult world, which is the common theme of the eight novels of the contemporary British writer Peter Ackroyd (including The Great Fire of Lodnon, Hawksmoor, Chatterton, The House of Doctor Dee, Milton in America, The First Light, Dan Leno, and English Music). Based upon the framework of the occult spatial image, spatial narrative strategies, spatial experience, and narrative space in Peter Ackroyd’s new historical novels, this dissertation aims to summarize, analyze systematically the defamamiarizing devices on the writing of space, and try to explore the occult spatial writing rationale behind Peter Ackroyd’s new historical novels, the occultism embodied in the geographical representation, and the spatial representation of the fascination with English visionary tradition. Coupled with abundant textual evidence, the thesis expounds the thematic concerns and the uncanny effect expressed by the spatial narrative. The dissertation asserts that image is the basic representation unit and means of physical space of the occult world, so the first chapter selects the most typical occult spatial images, including maze, shadow, stone and prison, as the starting point of the representation of the occult world in the spatial narrative of Peter Ackroyd’s new historical novels. This part summarizes the four major spaitial images in PA’s new historical novels, inlcluding labyrinth, shadow, stone and prison, and provides a detailed analysis of the significance, especially the thematic pregnancy and narrative function so as to enrich the field of study concerned. With special reference to Lefebvre’s spatial theory in general, spatial representation and the representation of space in particular, the thesis claims that spatial image is both a spatial representation and a representation of space. In order to reveal the representation of the occult world at the spatial narrative level, the second chapter goes forward to make a further analysis of the spatial strategies of narrative. This part deals with seven types of spatial strategies of narrative. They are the temporalization of space, the juxtaposition of spaces, the imposition of space, the movement of space, the projection of space, the reconfiguration and reposition of space respectively. This chapter makes a comprehensive survey on the inherent relationship among spatial narrative strategies, cultural construction and aesthetic effect, and asserts that the spatial strategies of narrative play a crucial role in the uncanny atmosphere of its writing stlye.Meanwhile, it constitutes a simultaneous supplement to the diachronity of the language in PA’s novels and is also the writing mode reflecting the postmodern genre of PA’s fiction. This kind of writing mode takes a complicit part in the construction of the pyschogeographical myth and tradition of English cultural and refashions the mythical space of eternal place be it a city or a country. From the angle of the relationship between the subject and space, the third chapter intends to shed light upon the spatial experience and spatial practice in PA’s novels. Travelling by walking is the fundamental means for travelers to generate a sense of space which constitutes the most essential way of crossing through the space in everyday life. In PA’s novels, walking through the city and crossing into the other space make up one of the most common subject matters. The subject “I” reconstructs the memory about history and the past, restores its connection between tradition and history. During the journey of crossing through the space, the displacement between the subject and the other comes into effect. As a result, the self and the other are reduced to the spatial experience and practice in a more realistic manner. Walking and travelling turns out to be a mirror which can manifest one’s self, a kind of redemption and a ritual which can restore the imagination of both a person and a nation. In terms of narrative point of view, the first person narrative point of view greatly shortens the narrative distance between reader and narrators, enables the readers to be close to the spatial experience of the narrator in an intimate way, and make readers experience the historical significance behind the city space. However, the third person point of view, by means of the angle of the other, represents the spatial experience of the subject, which is in line with the feeling of change from subject to the other so far as the thematic concern is concerned. From the perspective of narrative theory, the fourth chapter returns to the topic of story space, and condenses six typical models of occult narrative space. Since people find that the physical space holds sway above the flux of human being’s mind and thought, these narrative spaces will contribute to the unfolding of the plot in the novel, enable to represent the cultural background of the novel and lay bare the historical concern in the novel. The research concerned reveals the connection between occultism and the representation of space in the novel. Through the argumentation, the author concludes that beneath the spatial wiring of georgrophy lies the nostalgic complex for the English history, literature, culture and civilization on the part of the English people. The uncanny is the anxiety for English national identiy and integrity of English tradition at the turn of new century. It is the antinomy fantacy of “homeless”. It is the sense of space resulting from the juxtaposition between familiarity and strangeness. Streets, churches, houses etc give a sense spatial juxtaposition to the narrator and character in the novels.Because they are loaded with the traumatic memory and coming of age expeience of a young man. The ever glory and the present decline of the great Britain have been juxtapositioned in these spaces.It is there where the subject finally discovers its alter ego which is long buried in the house of history, and turns out to be reunited with it. The author assumes that one who has rediscovered and restored oneself in the yesterday is a real person with multidimensions. A nation who can rediscover its own history is a true nation who has known itself indeed. A nation who can restore its memory is a healthy nation indeed. During this process, the spaces play a crucial role. They are like the mirrors which make the subject understand itself more clearly. It is a convergent existence between history and reality. The writing of the space symbolic of the prime time of English culture and civilization is a literary means of carrying on the national heritage. Therefore, a story of an individual has become an allegory for a nation. What’s more, one person’s house has been changed into the garden for a nation, and a personal memory has been transformed into the history of a nation. The author assumes this is the really important message conveyed by PA’s novels to its readers. The dissertation assumes that the occult world represented by the above mentioned four major devices is simply the fictional practice of Peter Ackroyd’s psychogeograpy’s thoughts on space, which is deeply rooted in the ontology and epistemology of occultism. It is only partially overlapping with the postmodern thoughts on space, for both emphasize its constructability , fashionabiltiy, uncertainty and multidimensions, but Akcroyd’s spatial representation of the occult world is even more firmly based upon the visionary tradition of English literature and his excellent encyclopedic knowledge and command of English history, culture and various forms of arts which are far above the limits of postmodern thought that can simply contain.