Deeply explored the spatiality of literature and pointed out its importance, which has been widely recognized by the academic community. Bakhtin's concept of "spatiotemporal entity" integrates the concepts of time and space in literature, emphasizing the interrelationship between space and time. Modernist literature, such as the works of Eliot, Proust, and Joyce, exhibits a spatial turn in narrative, conveying the presence of consciousness by interrupting the chronological order. Topolov proposed two relationships between text and space: text has spatiality, and space itself is text. Postmodern spatial criticism focuses on the role of space in shaping the subject. As a representative of Russian modernist and postmodernist literature, Halms' works have made significant contributions in genre innovation, deconstructive creative concepts, and absurd narrative styles. This article will analyze Halms' creation from the theoretical perspective of the spatial shift in literary texts, and explore the expression and ontological connotations of his spatial shift.

Theoretical basis of spatial turning

The theoretical basis for the spatial turn in Halms' literary creation is mainly influenced by Russian avant-garde poets and artists, as well as the opinions of members of the "Chenali" organization. The technological revolution of the early 20th century and Einstein's theory of relativity had a significant impact on Halms' view of time and space. Halms came into contact with Bergson's philosophical ideas in the "Superrational Poets Group DSO" and proposed the concept of "fluid thinking". Hrebnikov linked the problem of spacetime with scientific breakthroughs and proposed the concept of "hyperspace". Malevich's supremacist philosophy of art and Ma Qiushen's theory of "dizziness" also had an impact on Halms. The members of the 'Chenaeli' hold a negative attitude towards modern science, but they do not deny science itself, but rather reject scientific hegemony and dogmatism. Halms deconstructs real time and space in his creations, depicting alternative spaces that follow artistic logic. Under the influence of the scientific and technological revolution and modernist thought, time and space have gained ontological significance. Time is seen as a continuous unity, while space is seen as the shadow of time in the real world. Halms and others emphasize that art has its own logic and can express the truth of the objective world.

The manifestation of spatial turn

At the beginning of the 20th century, under the influence of new discoveries in science and technology, Russian avant-garde literature and art began to attach importance to the expression of the appearance of the new world and the needs of the new era. As one of them, Halms practiced the spatial turn of literary texts through three ways. Firstly, he uses text as a carrier of artistic space and employs the artistic technique of binary world to expose the false representations of this world and determine the boundaries of time and space. Secondly, Halms regards text as space itself, inheriting the imagery of words from Futurist poets and avant-garde artists, and expressing the artistic experiment of poetic language through the changes in the shape of letters and words. Finally, he regards the text as a product of space, and the genre characteristics of his later novels present a postmodern spatial turn. Through deconstruction or satire, he expresses the self deconstruction and nihilism of the ontology of things. Halms' creative techniques embody three value relationships between artistic texts and real spaces in the aesthetic realm. His works combine the artistic characteristics of modernism and postmodernism, aiming to preserve the true existence of things through "artistic logic" and construct a connection between creators and reality.

The ontological connotation of spatial turn

Druskine believed that Halms regarded life as art, emphasizing the meaning of existence of things, and the spatial shift of his creative techniques had ontological connotations. Halms dissolved the subject object relationship in his creation, viewing objects as free objects and deconstructing the rules of real time and three-dimensional space, allowing objects to freely jump in the text. His works demonstrate the existence of things in four-dimensional space, where events exist in a spatial manner rather than occurring in a temporal manner. Halms believed that when a system that only retains the existence meaning of things is transformed into a linguistic conceptual system, it forms a "meaningless sequence of words" for empirical logic, which are connected by the existence meaning of words pointing to the existence meaning of things. He pursues the integrity of semantic core and the equivalence of signifier and signified in temporal and spatial meanings through the transformation of poetic language into images. Halms' concept of spatial shift in creation is based on the binary opposition between existence and nothingness. His works present the result of epistemological collapse caused by ontological crisis, where the intrinsic essence of things is deconstructed, leaving only the space that was once occupied. The aesthetic significance between the internal reality and external reality of his literary texts reflects the connection between the two in terms of their existential significance. Halms' creative ideas and techniques form a sharp contrast in the early and later stages, and the philosophical nature of his works becomes increasingly evident as the event plot fades and the existence plot increases.