在這篇研究朵莉絲．萊辛＜暴力之子＞系列第五冊＜四門之城＞裡空間和心靈互動關係的論文中，筆者所要探討的主題有二，第一點旨在分析作者如何透過空間意象呈現角色的內在心理狀態；第二點所要探討的是主角在城市空間和建築空間中的漫遊如何象徵其對心靈統合的追尋。以空間和心靈間的互動關係為主軸，筆者認為空間意象乃是內在心靈活動和外在環境刺激的語言化結晶，而空間意象所呈現的將不只是外在的物理表象更包含了小說人物的內在心理實態。於是本論文試圖以空間意象出發，探討如何以此些意象和容格的個體化理論說明主角的心靈旅行。 第一章，我將分析都市空間的主要兩個意象，疆界(boundary)與層疊漫渙(palimpsest)，以及主角瑪莎與心理原型面具(the archetype persona)的遭逢。在此我將探討主角作為一個城市的觀察者和批判者如何察覺那些可見或不可見分隔都市空間的疆界。同時也將說明主角在面對面具原型時如何解決內在退縮和成長的衝突。在下兩章，我將討論兩個建築空間和主角內在心靈的關係。首先，在傑克的房子裡，主角探索記憶和身體的連結並初探被深深壓抑的自我仇恨。其後，在科利奇的豪宅，主角則把自我狀態從防衛性的貝殼意象轉化為開放空間裡的流動中心點。同時，主角亦透過潛入瘋狂和內在暗影(the archetype shadow)的經驗，習得如何面對暗影與探掘其心靈的潛意識。 / In this study of Doris Lessing’s fifth and final volume of her Children of Violence series, The Four-Gated City, I would like to explore how the spatial imagery illustrates the inner landscape of the protagonist and how the protagonist’s wandering journey in the urban and architectural space symbolizes her inner quest for psychic integration. With an emphasis on the interchange between space and psyche, the spatial imagery is read as linguistic crystallization of psychic activities and environmental stimuli, which mirrors not only the physical appearance of the surroundings but also the psychological reality of the characters. As a result, with this spatial imagery as point of departure, I will also employ Jung’s individuation theory to account for the protagonist’s psychic journey. In the first chapter, I examine the two major urban spatial images, the boundary and palimpsest, and Martha’s encounter with the archetype persona. In this part, I would like to present the protagonist, Martha Quest, as an astute city observer and critic, who perceives the visible and invisible boundaries demarcating the urban space. I will also explicate how Martha is brought to confront the archetype persona and resolves the tension between regressive impulse and inner urge for growth. In the following two chapters, I will probe into how two architectures symbolize Martha’s intrapsychic space. In Jack’s house, Martha explores the nexus of body and memory and intimates the repressed self-hater. In Coldridge’s grand mansion she transforms her self-image from a defensive “shell” into a circulating center in a fluid open space. Then, in a symbolic descent to the madness and the inner shadow, Martha learns to confront the inner shadow and explore this unconscious aspect of her psyche.