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Studies in Literature and Language

Vol. 10, No. 1, 2015, pp. 51-57
DOI: 10.3968/6339

Pips Cognitive Development in Great Expectations From the Viewpoint of Space

Product

TANG Tingting[a],*; LIU Lihui[b],

colossus of his age (Cain, 2008, p.1). Marx acclaims
him as a palmary novelist (qtd. in Jiang, 2008, p.1).
Dickens is well-known for his humor, satire, exaggeration,
psychological analysis, and the combination of realistic
depiction and romantic atmosphere. In G. K. Chestertons
words, Dickens novel, just like the ancient myth, is a
more fictitious kind of fiction (qtd. in Qian, 2006, p.303).
George Gissing treats Dickensian style as romantic
realism (qtd. in Qian, 2006, p.303). Moreover, Dickens
creates some of the worlds most memorable characters,
such as Oliver Twist, David Copperfield, Miss Havisham,
Pip, and so forth. His biographer, Claire Tomalin,
describes Dickens as the greatest creator of characters in
English after Shakespeare (qtd. in Jones, 2012, p.1).
Great Expectations appeared initially in series version
in All the Year Round in 1860. John Irving puts forth that
among Dickens works, Great Expectations is a classical
one, even the most outstanding in English language
and the most perfect in structure (1981, p.251). The
background of the story was in Britain in the 19th century,
Victorian era. With the unprecedented development
of Industrial Revolution, Britain became the first
industrialized country in the capitalist world while the
contradiction between the capitalists and the working class
became intense in the cruel exploitation and oppression.
Until now, Great Expectations has been appreciated
and re-appreciated from different perspectives. Some
critics hold that it reflects the authors basic worldview
that good and evil have their own rewards from the
association between the novel and the authors values
orientation (Lucas, 1992, p.135); some make an overall
exposition of the correlation between the novel and the
social value and conclude that it is the whole society
rather than the individual himself that contributes
to the disillusionment of Pips great expectations
(Rubinstein, 1969, p.744); some concern themselves
with the psychology of characters and summarize that
their behaviors are the externalization of the relevant

[a]

Masters Candidate, College of International Studies, Southwest

University, Chongqing, China.
[b]
Professor, Doctoral Supervisor, College of International Studies,
Southwest University, Chongqing, China.
*Corresponding author.
Received 25 October 2014; accepted 19 December 2014
Published online 26 January 2015

Abstract

Charles Dickens is well-known for humor, satire,

exaggeration, and in-depth analysis of psychology. The
spatial construction is a prominent feature of Charles
Dickens Great Expectations. This paper tries to analyze
how the spatial conversion affects Pips cognitive
development from the viewpoint of space production. It
explores the construction of the three-dimension space
in the novel, and how each dimension affects Pips value
orientation. Also, it attempts to study how the culture
and space interact with each other and then impact Pips
cognitive development. Then, it concludes that space, as a
notable feature, has a profound effect on the development
of the plot, characters psychology and Pips cognition.
Key words: Great Expectations; Space; Spatial
construction; Spatial conversion; Cognitive development;
Culture
Tang, T. T.,& Liu, L. H. (2015). Pips Cognitive Development
in Great Expectations From the Viewpoint of Space Product.
Studies in Literature and Language, 10 (1), 51-57. Available
from: http://www.cscanada.net/index.php/sll/article/view/6339
DOI: http://dx.doi.org/10.3968/6339

INTRODUCTION
Charles Dickens (1812-1870), as a main realistic
representative of the Victorian era, is one of the most
influential novelists in British literature, even in the
worlds literature. He is the acknowledged literary

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Pips Cognitive Development in Great Expectations

From the Viewpoint of Space Product

psychology and emotion (Wheeler, 1985, p.107); some

take great interest in its narrative structurestarting
and returning (Cotsell, 1900, p.5); and some others try
to interpret the novel from the similarity of structure
and symbolism to John Miltons Paradise Lost (Stange,
1900, p.63). In a summary, this masterpiece is interpreted
generally in three ways: The first focuses on the
significance of the theme and the values orientation; the
second lays emphasis on the psychological development
of the protagonists; and the third concentrates on its
narrative structure. These literary critics have gained
remarkable achievements. Therefore, it seems that little
room is left for further exploration. However, researches
on spatiality provide me with a new perspective,
especially after reading The Production of Space by Henri
Lefebvre. Consequently, this thesis intends to appreciate
this novel from space approach.
Great Expectations, as a traditional novel about the
pursuit of wealth and social identity, portrays a series of
experiences of the protagonist, Pip. According to Oxford
Concise Dictionary of Literary Terms, Bildungsroman is
a kind of novel that follows the development of the hero
or heroine from childhood or adolescence into adulthood,
through a troubled quest for identity (Baldick, 1996,
p.24). In a sense, Great Expectations is a Bildungsroman
about Pips growth and cognition. Ai Xiaoling indicates
that space plays an important role in Great Expectations
(2000, p.63). According to Jerome Klinkowitz, emphasis
on the setting and background is a notable feature of
novels with spatial form (1991, p.60). Therefore, it is
convinced that Great Expectations is a traditional work
with spatial intention. On this ground, this paper intends
to have a detailed analysis of the spatial conversion and
the protagonists cognitive development.
This thesis, mainly based on the trialectics of
spatiality put forward by Henri Lefebvre in his The
Production of Space and Edward W. Sojas further
developmentconcept of Thirdspace, will endeavor
to conduct a comprehensive analysis of how the spatial
conversion affects Pips cognitive development from the
three domains of space, namely physical space, mental
space and social space. Moreover, this paper will try to
explore the interrelationships among culture, space and
cognition.

one, such as Euclidean and isotropic. Traditionally,

Aristotelian school holds that space and time were
among those categories which facilitated the naming and
classing of the evidence of the senses (Lefebvre, 1991,
p.1). With the advent of Cartesian logic, space had
entered the realm of the absolute. As Object opposed to
Subject space came to dominate, by containing them,
all senses and all bodies (Lefebvre, 1991, p.1). With the
revising of Kant, space becomes a tool of knowledge,
although it is clearly separated from the empirical
sphere. Then research about space shifts from philosophy
to mathematics, which invents various spacesnonEuclidean spaces, curved spaces, abstract spaces,
and so on (Lefebvre, 1991, p.2). Then for a deep rift
between mathematics and reality, it shifts to philosophy
again. Platonism advocates that the status of space is a
mental thing (Lefebvre, 1991, p.3). Then it comes out
the literary space, ideological spaces, etc. Space can
be viewed on two dimensions: the mental one and the
social one. But it lacks a bridge between them (Lefebvre,
1991, p.4). Then Chomsky postulates a mental space
ignoring the gap that separates the linguistic mental
space from that social space (Lefebvre, 1991, p.5). With
the development of research, mental space is separated
from social practice. Then it comes out an indefinite
multitude of spaces on various dimensions: geographical
space, demographic space, ecological space, the space
of energy, and so forth (Lefebvre, 1991, p.6). On this
theoretical ground, Henri Lefebvre makes an assumption
whether there is a code which allowed space not only to
be read but also to be constructed (1991, p.7).
Space, illustrated by Henri Lefebvre in The Production
of Space, as a multi-dimensional and dialectical
integration of materiality, spirituality and sociality, is
both physical and spiritual, both true and imaginary, both
concrete and abstract, both realistic and representational
(Xie, 2010, p.46).
Henri Lefebvre, in The Production of Space, puts
forward the trialectics of spatiality, and illuminates that
the three realms of space are dialectically integrated (qtd.
in Soja, 1996, p.53; Xie, 2010, p.46). He states that
The fields we are concerned with are, firstly, the physical--nature, the Cosmos; secondly, the mental, including logical and
formal abstractions; and, thirdly, the social. In other words, we
are concerned with logico-epistemological space, the space
of social practice, the space occupied by sensory phenomena,
including products of the imagination such as projects and
projections, symbols and utopias. (Lefebvre, 1991, pp.11-12)

1 . T H E A R T O F S PA C E I N G R E AT
EXPECTATIONS

In brief, the three domains of space, i.e. objectively

physical space, subjectively psychological space and
practically social space, constitute a dialectical synthesis
with complexity and diversity (Xie, 2010, pp.45-46).
Edward W. Soja, a post-modern geographer, inherits
and further develops the spatial production theory of
Lefebvre. Soja holds that Firstspace focuses on the
space of objective, natural and material. He manages to

1.1 Definition of space

The development of the concept of space is a long
process. For original artists, space is an element to
associate all things in the streams of time and phenomena
(Qian, 2006, p.171). Initially, space is an empty area of
a strictly geometrical meaning, namely, a mathematical

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TANG Tingting; LIU Lihui (2015).

Studies in Literature and Language, 10 (1), 51-57

establish formal science about the first space on geometric

principles (Xie, 2010, p.47). Towards Secondspace,
Soja puts emphasis on the space of subjective, imaginary
and spiritual. He advocates the concept of Secondspace
should be related to geoculturelism (Xie, 2010, p.48).
Quite distinct from Firstspace, Secondspace
accentuates that subject takes precedence over the object,
that art over science and that imagination over truth.
Furthermore, Thirdspace is not only a deconstruction
of the first one and the second one, but also a strategic
reconstruction of the two (Xie, 2010, p.48). In the
sphere of the third space, various factors, such as subject
and object, abstraction and concretization, truth and
imagination, transcendentalism and experience, identity
and diversity, spirit and body, reality and representation,
etc., are united so as to bridge the contrasting situation
between the first and the second space (Xie, 2010, p.48).
As a product of social practice and a unitary aggregate
of the former two domains, the third space, maintains the
contradictory characteristics of dialectical convergence
and unlimited divergence.

such as Mr. Pockets, Mr. Jaggers office, Barnards

Inn and Mr. Wemmicks Castle. To a certain extent,
the spatial conversion evokes a profound change on
Pips values orientation and becomes an important
mechanism promoting the development of the plot.
The scene description in literary works is not only a
mechanical reappearance of the geographical space, but
also a reasonable projection and a socially historical
comprehension (Xie, 2010, p.87). Hence, each physical
space has a special implication, serving as a unique sign
of its spiritual meaning.
In childhood, Pip, living with his sister and brotherin-law, led a quiet and happy life at the forge, which was
a representative of the lower class. Under a simple and
pure atmosphere in the countryside, Pip was innocent and
warm-hearted without any great ambition. In his mind,
he always believed in the forge as the glowing road
to manhood and independence (Dickens, 2007, p.93).
Thus, to be Joes apprentice and inherit the forge was his
supreme dream. Even dealing with the atrocious escaped
convict, Magwitch, Pip was kind enough to send him food
and a file. However, when Pip visited the magnificent
Manor House, a representative of the upper class, and met
Miss Havisham and Miss Estella, his values underwent
an overturning change. The complete infatuation with
Miss Estella, a pretty but arrogant lady, and the intensely
psychological contrast with the grand Satis resulted in
Pips inferiority. Every time thinking about his poor
background and ignorant behaviors, Pip became disgusted
and depressed.
Manor House, cut off from the outside world by a
door, remains still on the concept of time. Obviously,
Manor House embodies a prominent feature of modern
space-oriented novels, in which time and sequence are
weakened while space and structure are strengthened
(Curtis, 1991, p.77). When he entered Manor House, the
representative of extreme evilness in reality, Pips values
changed tremendously. With wickedness in personality
taking the upper hand, Pip became conceited and vain,
snobbish and hypocritical. While living at the Blacksmith,
Pip hardly showed such serious inferiority, nor did he
feel disgusted at the life in the countryside. But after the
invitation to Satis, everything changed. They had never
troubled me before, but they troubled me now, as vulgar
appendages (Dickens, 2007, p.54). Undoubtedly, he
began to hate himself and wonder why he couldnt behave
as a gentleman in the upper class or pursue a pretty girl,
especially Estella. Also, he began to complain about the
ordinary and vulgar life at the forge, even blame Joe, I
wished Joe had been rather more genteelly brought up,
and then I should have been so too (Dickens, 2007, p.54).
He viewed the social identity of his family as a great
shame.
Similar to Satis, a bridge cuts off Mr. Wemmicks
Castle from the external world. But on the contrary, the
Castle in Walworth symbolizes warmth and kindness.

1.2 A Space Approach to Pips Cognition

Henri Lefebvre advocates that space is composed of
three realms: objectively physical space, subjectively
psychological space and practically social space. The
latter one is the unification of the former two (Xie, 2010,
p.46). On this theoretical basis, Soja further interprets
the interrelationships among the three domains of
space.
In Great Expectations, to promote the development
of the plot, Charles Dickens constructs a logicomathematical space. Meanwhile, from the dual the-firstperson narrative points of view, Dickens establishes a
space occupied by sensory phenomena and imaginary
products. In actuality, each of these two levels of space
real space and ideal space involves, underpins and
presupposes the other (Lefebvre, 1991, p.14). And the
spatial transition, from the material realm of the external
world to the mental space, and thence to the space of
social practice, has a thoroughgoing change in Pips
cognition.
1.2.1 The First Space
In The Production of Space, Lefebvre indicates that
the first level of space is physical and real. Later, Soja
develops it into Firstspace, which is geographical. As a
literary form, novel contains some elements of geography.
The objective environment of a novel includes place,
location, landscape, setting, scene, boundary and view
(Crang, 2005, p.39). Therefore, geographical space, as an
indispensable factor, promotes the development of the plot
and the presentation of characters.
Initially, the young Pip appeared at the bleak
churchyard, and then he shuttled between the Blacksmith
and the Manor House. Upon his arrival in London,
Pips activities continued among various spaces,

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When Pip entered the Castle, the kindness of his

personality took the upper hand. When he came back to
the reality, he behaved sincerely. The two physical spaces
with completely contrary styles pose a profound influence
on Pips values orientation and cognition. Their existence
diversifies the real space and convinces that each physical
space is a unique sign of the spiritual meaning.
Moreover, living in the countryside, Pip treated Joe as
his intimate friend, when I sat looking at Joe and thinking
about him, I had a new sensation of feeling conscious that
I was looking up to Joe in my heart (Dickens, 2007, p.43).
Nevertheless, when Joe came to visit him, Pip behaved
indifferently and unconcernedly.

For instance, the felicitous idea occurred to me a

morning or two later when I woke, that the best step
I could take towards making myself uncommon was
to get out of Biddy everything she knew (Dickens,
2007, p.63). And for another instance, within a single
year, all this was changed. Now, it was all coarse and
common (Dickens, 2007, p.93). Clearly, the inner
soliloquy of the experiencing I shows that Pip,
after his visit to Satis, quitted his intention to be Joes
apprentice and desired to make himself uncommon.
And the activity in the internal world unfolds the
profound influence due to the conversion of the external
environment.
It is another typical example that when he was
informed of Joes visit to London, Pip felt reluctant and
disgusted.

With his hat put down on the floor between us, he caught both
my hands and worked them straight up and down, as if I had
been the last-patented Pump Joe, taking it carefully with both
hands, like a birds-nest with eggs in it, wouldnt hear of parting
with that piece of property. (Dickens, 2007, p.193)

Not with pleasure, though I was bound to him by so many ties;

no; with comiderable disturbance, some mortification, and a
keen sense of incongruity. If I could have kept him away by
paying money, I certainly would have paid money. (Dickens,
2007, p.191)

The above extract hints at the transmutation and

distortion on their relationship through a series of vivid
portrayals of Joes wear, actions and behaviors. In a
general sense, the conversion of external space changes
Pips worldview extremely.
1.2.2 The Second Space
Secondspace, i.e. the ideal space of thoughts
and utterances, is associated with the cultural and
geographical imagination (Lefebvre, 1991, p.28; Soja,
1996, p.2). In Great Expectations, the second space is
mainly constituted through the internal monologues and
the conversations of the young Pip and the old Pip.
According to Joseph Frank, the narrator removes
himself out of the familiar environment while years later,
he throws himself again into that stream of time. By this
way, the narrator discovers that there are two images
in front of him: the world at that time and the world at
present. When the two worlds co-exist simultaneously,
the pass of time is displayed (Frank, 1991, pp.12-13).
In Great Expectations, the story is narrated by the same
person on two narrative points of view, namely the young
Pip and the old one. The co-existence of the past and the
present, and the association between fancy and reality are
realized via the two roles. As a consequence, it enriches
and diversifies the content of the novel.
The young Pip, as the experiencing I, narrates the
story. For him, future is a mystery. And the experiencing
I can guide readers into my inner world when I am
experiencing a series issues. It is direct, vivid, subjective
and easy to arouse sympathy (Shen, 1998, p.260). The
narrating I, namely the old Pip, is retrospective and
clear about issues at present and in future. In the shuttle
of the two points, narration of the old Pip is more mature
and more objective while that of the young Pip is more
childish and more ignorant because of the abruptness and
the uncertainty of issues. By the two different voices, Pips
self-examination and self-accusation can be reflected.

Copyright Canadian Academy of Oriental and Occidental Culture

The internal monologue vividly describes the scene

that Pip, with vague class-consciousness, felt uneasy
about Joes coming in case the hateful Bentley Drummle
laughed at him. Granted, he blamed himself with regret
via the utterance of the old Pip, throughout life, our worst
weaknesses and meannesses are usually committed for
the sake of the people whom we most despise (Dickens,
2007, p.192). Ignoring the pass of time, the young Pip
and the old Pip are put together, freely have conversation
with each other and make different comments on the same
issue. Intuitively, the distinction of cognition in different
stages of life is clearly reflected.
I lived in a state of chronic uneasiness respecting
my behavior to Joe. My conscience was not by any
means comfortable about Biddy (Dickens, 2007, p.240).
Leading a gentlemans life in London, Pip spent money
like water, even heavily in debt. However, he was
depressed and in a confused state of mind. And the above
monologue of the experiencing I reveals his regret for
what he had done.
For now, my repugnance to him had all melted away, and in the
hunted wounded shackled creature who held my hand in his, I
only saw a man who had meant to be my benefactor, and who
had felt affectionately, gratefully, and generously, towards me
with great constancy through a series of years. (Dickens, 2007,
p.395)

In this excerpt, Pips attitude towards Magwitch had

a thoroughgoing change. His previous repugnance to
the escaped convict was replaced by heartfelt sympathy.
Maturity on cognition is displayed clearly. Although he
misses great expectations, Pip gains virtue and victory
on cognition. With no foolish and childish childhood, Pip
remains innocent and pure; with no illusion and vanity in
the early youth, Pip keeps precious experience.

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TANG Tingting; LIU Lihui (2015).

Studies in Literature and Language, 10 (1), 51-57

1.2.3 The Third Space

Edward W. Soja points out:

We changed again, and yet again, and it was now

too late and too far to go back, and I went on. And the
mists had all solemnly risen now, and the world lay
spread before me. (Dickens, 2007, p.141) Pip was about
to leave for London as a young fellow with a promising
future. On the one hand, Pip was looking forward to his
future with a great joy while feeling affectionate towards
Joe and Biddy on the other hand. Thus, mist is a symbol
of Pips attachment towards Joe and Biddy. And its final
disappearance represents that Pip, at least temporarily,
puts this affection aside and heads towards London.

Thirdspace can be described as a creative recombination and

extension, one that builds on a Firstspace perspective that
is focused on the real material world and a Secondspace
perspective that interpret this reality through imagined
representations of spatiality. (1996, p.6)

In the third space, contradictory features---subject

and object, abstraction and concretization, truth and
imagination, reality and representation, are consolidated.
These features, as a bridge, put an end to the contrasting
situation between the logico-epistemological space and
the practico-sensory realm of social space (Lefebvre,
1991, p.15; Xie, 2010, pp.47-48).
As a famous novel, Great Expectations is about Pips
growth, from fantasy of great expectations for blind
quest, from degeneration to self-examination, from
disillusion of dreams to moral victory and maturity.
The inextricable interweaving between the spatial
realm of object and that of subject reconstitute the third
space. In detail, the domain of the third space in this
novel includes the social environment, scene, cultural
background, the inner world, the correlations among
them and their mutual interaction. In David Michelsons
view, through a set of broadly interrelated image net,
a spatial expansion can be reached. Like flashback,
reappeared images can guide readers back to the former
part of the work (Michelson, 1991, p.148). And this
part, from the adoption of images with metaphor and
symbolism, emphatically analyzes how the third domain
interweaves with the former two, how the three domains
affect Pips cognitive development and how they shape
his personality.
During the reading process, images and symbols are
mutual references in space (Frank, 1991, p.24). As a
part of physical space, their signs on the spiritual space
are different (Frank, 1991, p.2). The image, mist, is
mentioned several times in the novel. From the similarity
of these scenes, mist, as a phenomenon, is a part of
the environment depiction. In brief, it belongs to the
objectively physical sphere. In addition, mists in different
scenes have distinct implications. With these different
meanings, mist, as a bridge, connects the first space and
the second one. To a certain degree, it hints at the plots
development and the characters destiny.
The mist was heavier yet when I got out upon the
marshes, so that instead of my running at everything,
everything seemed to run to me. (Dickens, 2007, p.13)
The description of scenery implies the inner horror and
the contradictory mood of the young Pip. It was for the
first time that Pip encountered Magwitch. And it was
a significant turn of his destiny and a hopeful start of
his quest for great expectations. Invisible mist throws a
shadow over everything and predicts that the future, as the
mist, is illusory and unreal.

As the morning mists had risen long ago when I first left the
forge, so, the evening mists were rising now, and in all the broad
expanse of tranquil light they showed to me, I saw the shadow
of no parting from her. (Dickens, 2007, p.429)

Mist appeared when Pip and Estella met again after

separation for over a decade. Mist symbolizes the shadow
over them all the time while its final disappearance
connotes the happy life in front of the two.
In Great Expectations, Dickens consciously adopts
metaphor and symbolism. Compared with mist, stove
fire at the forge is another typical image. Joes forge is
a symbol of the spiritual home, where Pip enjoys the
kindness and protection from Joe. The stove fire can offer
warmth, light up ways, drive off darkness and evilness
and finally achieve salvation. In Great Expectations, stove
fire is a symbolic sign of the desirable hope.
Many a time of an evening, when I sat alone
looking at the fire, I thought, after all there was no
fire like the forge fire and the kitchen fire at home
(Dickens, 2007, p.240). Staying in London for a period
of time, Pip eventually realized that the life with stove
fire at hometown was happy, warm and hopeful. Here,
metaphorical symbolism and the physical space combine
with each other and imply Pips self-examination and
cognitive development. The luxury but unhappy life as
a gentleman in London implies that Pip has an internal
struggle with his conscience.
In summary, the interweaving between reality and
fantasy, between concretization and abstraction, and the
application of images with metaphor and symbolism
reveal the diversity and complexity of the practicosensory space. The creative reconstruction of the third
space promotes a perfect integration of the external world
and the internal one. Ultimately, being back to Joes forge
symbolizes the maturity in Pips personality.

2 . T H E C O R R E L AT I O N S A M O N G
CULTURE, SPACE AND COGNITION
Culture, as an aggregation of idea and values, endows life
styles of various spatial realms with great significances.
And the material and symbolic forms in daily life are
the reflection of culture (Crang, 2005, p.2). In turn,
culture is reproduced by a series of forms and activities

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in specific spatial realms (Crang, 2005, p.7). With the

interdependence and the interaction of culture and space,
cognition gains an opportunity to develop.
According to Michael Crang, home is safe, warm and
worth depending on while it is also a restricted place.
The protagonist leaves home, enters an adventurous
world and struggles against his destiny. During the whole
process, he proves himself in challenges and ultimately
has moral achievement. The more mature the protagonist
becomes, the greater his image becomes. Its a typically
structural model for this kind of novel to create a feeling
of home and domesticate at last (Crang, 2005, p.43).
In Great Expectaions, Joes forge was the physical and
spiritual home. The protagonist, Pip, underwent a series
of sufferings, from the forge in the countryside to Manor
House in the town, and thence to the metropolis.
With each spatial conversion, Pip has something
different added to his attitude towards the external
world and the internal world. In the Blacksmith, Pip was
satisfied while in Satis, he wondered for the first time that
I was much more ignorant than I had considered myself
last night and generally that I was in a low-lived bad
way (Dickens, 2007, p.56). From then on, he changed
and desired to be a gentleman of the upper class so as
to match Estella. Still then, an anonymous benefactor
intended to support Pip to make a fortune on a grand
scale. My dream was out; my wild fancy was surpassed
by sober reality (Dickens, 2007, p.122). Pips vanity
expanded unprecedentedly and he lost his innocence.
To sum up, Pips cognitive development can be divided
into four main periods: innocence, degeneration, selfexamination and maturity. Ultimately, Pip completes the
moral domestication.
The relationship between people and geography is
affectionate. In moral geography, spatial experience and
personal identity have a close relationship with each
other. More or less, literary works interpret the structure
of geographical space and how the interrelationships
restrain social behaviors and how the influence of social
ideology expands with the assistance of moral geography
(Crang, 2005, pp.44-45). In the countryside, Pip was
pure and simple; in the town, Pip felt disgusted to his
inferiority and imagined to make himself uncommon;
in London, Pip became hypocritical and luxurious, and
felt confused towards the future. Geographical space has
signs on the basis of the criterion of conduct while the
criterion becomes a symbol of the social identity (Crang,
2005, p.44). Nearly each spatial conversion results in
a tremendous change on Pips values and worldview.
Meanwhile, some transfers of the microenvironment, such
as transfers from Mr. Wemmicks Castle to Barnards
Inn, even to Mr. Jaggers Office, also affect his cognition
enormously. Eventually, with the truth came into light,
Pips great expectations shattered. Facing the fact that
his benefactor is not a nobleman, but a criminal he once

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helped, and the truth that money is the supreme to judge

a person, Pip comes back to sober reality from wild
fancy. He becomes acutely conscious that luxury and
waste do no benefit, that the quest for wealth needs hard
work, and that the truth lies in honesty and sincerity.
With maturity on the cognition, Pip gains kindness and
beauty in personality. At the end of the novel, the scene
that Pip had a reunion with Estella in Satis with the mist
vanishing gradually implies the perfect integration of
the three spatial realms. Meanwhile, Pip accomplishes
domestication on moral cognition.

CONCLUSION
In Great Expectations, the spatial construction and
conversion are fully exhibited. This dissertation
manages to get rid of the traditional studies on the
theme, psychological development and narrative
structure. Theoretically based on the trialectics of
spatiality by Henri Lefebvre and the concept of Third
space by Soja, this thesis is aimed at exploring Pips
cognitive development under the influence of the multidimensional and dialectical space. First space, physical
and objective, focuses on how the transition of the
external environment impacts Pips values orientation;
Second space, spiritual and subjective, concentrates
on how his internal world is influenced through the
internal monologues and conversations of the narrating
I and the experiencing I; Third space, social and
practical, as a dialectical combination of deconstruction
and reconstruction of both the first space and the
second one, integrates contradictory characteristics
object and subject, abstraction and concretization,
reality and representation, etc. Through the application
of image, metaphor and symbolism, this paper tries to
explore how the external world and the internal one
are unified dialectically, perfectly and harmoniously.
Moreover, this paper conducts a detailed analysis on the
interrelationships among culture, space and cognition.
Culture endows space with rich meanings while space
enriches the content of culture and promotes the
reestablishment of culture. And the interdependence and
the interaction between culture and space offer favorable
prerequisites for Pips cognitive development.
In addition, in The Production of Space, Henri
Lefebvre also puts forth various concepts of space, such
as absolute space, contradictory space, sharing
space, capitalist space, transparent space, cultural
space, representational space, body space, etc.
Through these complicated concepts, Lefebvre intends
to express the complexity and the diversity of space. And
the co-existence of multi-dimensional spaces diversifies
the spatial structure of a novel. Maybe, it indicates that
a further study on spatiality can be continuous from
a multiplicity of spaces, such as absolute space,

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Studies in Literature and Language, 10 (1), 51-57

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