空间经验正在成为当下时代的支配性经验之一。相应地，对空间经验的书写表现，正在成为新世纪中国文学极醒目的增长点。在建构时代想象、揭示生活景观、探索展示人在生活世界中的状况处境等方面，空间都日益成为小说创作极重要的切入点和极典型的书写角度。空间经验正在诸多方面超越并替代时间经验（历史经验），在当下小说中成为核心经验、发挥更多主导作用。本文以新世纪（2000年以来）的中国小说为主要研究对象，结合时代语境、文学思潮、具体文本的题材内容及形式风格，深入研究空间经验对新世纪小说的深刻影响、新世纪小说中空间经验的样貌形态、以及新世纪小说对空间经验的书写表达方式等问题。

要有效探讨新世纪中国小说中的空间经验问题，对空间概念、空间理论进行梳理分析十分必要。近代以前，空间在哲学等人文学科中一直是相对受到忽视的理论范畴，这样的情形在现代以来发生了很大的改变。20世纪中后期以来，西方理论界出现了被称为“空间转向”的研究趋向，空间迅速成为文学界以及广义的社会科学领域较为热点的研究对象，空间与现代文明、文化逻辑、文学表达等的关系，都获得了多元、系统、富有深度的研究分析。海德格尔、列斐伏尔、福柯等哲学家从思想层面上对空间展开的认知和再定位，大卫·哈维、安东尼·吉登斯等人从社会学角度对空间的思考，本雅明、詹明信等人从文化维度展开的空间分析，以及巴赫金、约瑟夫·弗兰克、韦斯特法尔等从具体的文本形式结构（乃至文学研究方法论）层面将文学与空间问题关联在一起的理论实践等，都为文学中的空间经验分析提供了理论上的思路、抓手和依凭。

具体到新世纪二十余年来中国小说的创作实践，一种从“时间本位”向“空间本位”转型的写作趋向正在出现：我们更多地通过空间来理解生活，并且在小说中通过对空间经验书写来整理、表达这种理解。形形色色的空间理论与中国当代文学研究在此发生了具体的交汇衔接。随着20世纪大动荡岁月结束、日常生活经验和消费主义意识形态强势崛起，总体性的历史叙述方式和时间想象模式逐渐褪色乃至失效，经验的共时性取代了历时性，时间经验和时间想象正在变得难于把握、甚至不被信任，难以像过往那样有力地帮助文学整合并讲述世界与生活。进而，现实生活中各类冲突与关联的本质逻辑，在相当程度上正在由时间的转为空间的，作家（及读者）感知、理解、想象世界的基本方式和直观路径，更多地转由空间来提供。由此，空间越来越成为文学、尤其是小说所重点关注的对象，空间经验正成为新世纪中国小说中的核心经验。

此种核心经验在新世纪中国小说中呈现出的样貌是形态多元、层次交叠的，因为空间本身在性质和分类上便具有多重维度。当代空间正在被越来越复杂的功能类型和身份想象所切割，“乡镇与都市”“地方与中心”“自然空间与人造空间”“私人空间与公共空间”等不同的空间分类方式或曰空间类型关系，都关联着小说中空间经验不同的内涵样貌及其对应的书写模式。而在被精细分类的同时，空间类型之间的绝对界限又正不断消失或变得模糊、呈现为混在状态，多维度的空间想象持续处在相互转化与彼此渗透之中。

空间的多重样貌和丰富内涵，对应着复杂的社会关系与具体的个体生命处境，牵涉出新世纪中国小说对重大时代主题的阐释书写。格非《江南三部曲》、莫言《生死疲劳》、贾平凹《秦腔》、徐则臣《耶路撒冷》、石一枫《世间已无陈金芳》等作家作品，显示出空间经验与全新时代想象、个体生活世界之间的直接且深刻的关联，空间命题在此象征并阐释着一代人的根本生存处境和精神历史主题。在主题性的维度之外，空间经验也影响和参与形塑着小说叙事的形式：在阿来《空山》、金宇澄《繁花》、李洱《应物兄》、刘震云《一日三秋》、乔叶《宝水》以及孙频、林森、王占黑等更年轻作家的作品之中，散点化结构的广被采用、“空间装置”对叙事的组织参与、小说情节模式与叙述形式的“空间化”等，都具体显示出空间经验和空间意识对小说形式风格的影响塑造。空间逻辑的日益强大也会对小说造成负面影响。空间想象的符号化、地域经验的奇观化、叙事的碎片化等问题，都与空间的强力辐射直接相关，既是小说在处理空间经验时的具体不足、也在当下写作总体图景中具有相当的症候普遍性。而就群体性的文学现象而言，许多新的空间想象正通过小说被建构起来。“新东北作家群”努力为政治经济学意义上颓废的、被抽空失血的东北大地注入新的审美意义和情感内涵；“新南方写作”试图为一片充满开放性、异质感、未完成特征的地理空间描绘多层次的文学形象；而在水平性的现实空间之外，幻想性的小说叙事则着意在垂直的向度上，建构出虚拟的、超越性的空间家园。这些文学创作的新实践，依托于空间、同时更着意于“再造空间”，形成了新世纪中国小说值得注意的现象景观。

空间经验、以及空间经验背后的空间秩序和空间逻辑，正深刻影响着中国当下的社会现实和中国人的精神世界，其在文学中的特殊重要性，在新世纪中国小说中有集中且形态丰富的表征和体现。从空间的角度入手，对新世纪中国小说中的空间经验进行分析、进而也对新世纪中国小说的新特征新趋势加以管窥，具有充分的文学价值和深远的现实意义。

The experience of space is becoming one of the dominant experience of the present era. Accordingly, the representation of spatial experience in literature is becoming a very important area of growth in contemporary Chinese literature. Space is increasingly becoming a crucial point of entry and a typical perspective in novel writing in terms of constructing the imagination of the era, revealing the landscape of life, and exploring the condition and situation of people in the living world. Spatial experience is surpassing and replacing temporal experience (historical experience) in many ways, and is becoming a core experience and playing a more dominant role in contemporary novels. Combining the context of the times, literary trends, specific themes and formal styles of the texts ,this paper focuses on the literature of China in the new century (since 2000) to deeply study the profound impact of spatial experience on the novels of the new century, the forms and appearance of spatial experience in the new century novels, and the ways in which spatial experience is expressed in the novels of the new century.

In order to effectively explore the issue of spatial experience in Chinese novels in the new century, it is necessary to analyze and clarify the concepts of space and spatial theory. Before modern times, space had been a relatively neglected theoretical category in disciplines such as philosophy, but this has changed significantly in modern times. Since the mid to late 20th century, there has been a research trend in Western theoretical circles known as the "spatial turn," and space has rapidly become a hot topic of research in the literary and broader social science fields. The relationship between space and modern civilization, cultural logic, and literary expression have all received diverse, systematic, and in-depth research and analysis. Philosophers such as Heidegger, Lefebvre, and Foucault have provided cognitive and repositioning of space at the level of thought, while sociologists like David Harvey and Anthony Giddens have approached space from a sociological perspective. The analysis of space from a cultural dimension by Benjamin, Jameson, as well as the theoretical practices linking literature and spatial issues at the level of specific text forms (even literary research methodology) by Bakhtin, Joseph Frank, Westphal, have provided theoretical ideas, starting points, and support for the analysis of spatial experience in literature.

In the specific practice of novel writing in China over the past two decades of 21st century, there is a trend of transition from a "time-based" to a "space-based" approach to writing. We understand life more through space and organize and express this understanding through the spatial experience in novels. Various theories of space have interacted concretely with the study of contemporary Chinese literature. With the end of the tumultuous years of the 20th century, the rise of daily life experiences and the ideology of consumerism, the total narrative mode of history and temporal imagination have gradually faded and become ineffective. The synchronicity of experience has replaced historical duration, and temporal experience and temporal imagination are becoming increasingly difficult to grasp, and even less trusted, making it difficult for literature to integrate and tell the world and life as powerfully as it did in the past. As a result, the essential logic of various conflicts and connections in real life is to a large extent being transformed from time to space. The basic way and intuitive path for writers (and readers) to perceive, understand, and imagine the world are increasingly provided by space. Consequently, space is becoming an object of increasing focus in literature, especially in novels, and spatial experience is becoming a core experience in contemporary Chinese novels.

The appearance of this core experience in contemporary Chinese novels in the new century is diverse and overlapping, as the nature and categorization of space itself have multiple dimensions. Contemporary space is being fragmented by increasingly complex functional types and identity imaginings, involving various spatial classification methods or spatial type relationships such as "rural and urban," "local and central," "natural space and man-made space," "private space and public space." These are associated with different connotations and corresponding writing patterns of spatial experiences in novels. While being finely categorized, the absolute boundaries between spatial types are constantly disappearing or becoming blurred, presenting a state of intermingling. Multidimensional spatial imaginings continue to exist in a state of mutual transformation and permeation.

The multiple appearances and rich connotations of space correspond to complex social relations and specific individual life situations, implicating the interpretation and writing of major themes of the era in contemporary Chinese novels. Works by Ge Fei, Mo Yan, Jia Pingwa, Xu Zechen, Shi Yifeng, among others, demonstrate a direct and profound connection between spatial experiences and the new era's imaginings and individual life worlds. The thematic proposition symbolizes and explains the fundamental living conditions and spiritual historical themes of a generation. Beyond the thematic dimension, spatial experiences also influence and participate in shaping the narrative form of novels: in the works of A Lai, Jin Yucheng, Li Er, Liu Zhenyun, Qiao Ye, as well as younger writers such as Sun Pin, Lin Sen, and Wang Zhanhei, a scattered structure is widely used, and the "spatial installation" organizes the narrative, and the "spatialization" of the novel's plot pattern and narrative form, all specifically demonstrate the influence and shaping of spatial experiences and spatial consciousness on the style of novel forms. The growing strength of spatial logic can also have negative effects on novels. Issues such as the symbolization of spatial imagination, the spectacularization of regional experiences, and the fragmentation of narrative directly related to the strong radiation of space, are not only specific shortcomings when dealing with spatial experiences in novels, but also have a considerable degree of generality in the current overall writing landscape. As for group literary phenomena, many new spatial imaginations are constructed through novels. The "New Northeast Writers Group" is trying to inject new aesthetic significance and emotional connotations into the politically and economically desolate and bloodless Northeastern region. "New Southern Writing" attempts to depict multi-level literary images for a geospatial space filled with openness, heterogeneity, and incompleteness. In addition to the horizontal real space, the imaginative novel narratives construct virtual and transcendent spatial homes in the vertical dimension. These new literary practices, relying on space while also focusing on "reconstructing space," have formed a notable phenomenon of the new century Chinese novels.

Spatial experiences, as well as the spatial order and logic behind them, deeply influence the current social reality of China and the spiritual world of the Chinese people, and their special importance in literature is manifest and reflected in new century Chinese novels. Starting from the perspective of space, the analysis of spatial experiences in contemporary Chinese novels and, consequently, the examination of the new features and trends of contemporary Chinese novels, have significant literary value and profound practical significance.