本文对20世纪英国作家毛姆的《在中国的屏风上》进行文本分析,指出在全知叙述者对北京的叙事描写中并未直接点明其所讲述的城市名称。作品中展现出的城市异托邦文化在这种无名城市的叙事策略下更加凸显了感知者与叙述者的文化差异与异质文化空间,进而从叙事学角度解码毛姆笔下的北京形象及这一叙事所隐含的文化张力。 This article analyzes the text “On the China Screen” by British writer Maugham in the 20th century, and points out that the narrative description of Beijing by the omniscient narrator does not directly point out the city name it describes. Under the narrative strategy of this anonymous city, the urban culture of istocentrism exhibited in the works highlights the cultural differences and heterogeneous cultural space between the perceptron and the narrator, and then decodes the image of Beijing from the angle of narratology and this The cultural tension implied by a narrative.