20世纪初,在西方小说大量涌进中国之前,中国古代小说创作在叙事视角方面主要以全知全能的叙事视角为主,尽管作品中偶尔会穿插使用限知叙事视角的创作手法,但作家缺乏自觉的创作意识。李劼人的代表作《死水微澜》在继承传统小说全知叙事模式的同时,有意识地突破并开创新的限知叙事视角模式,让作品多层次地讲述了一个女人如何在飘摇不定的乱世中把握自己命运的故事。 At the beginning of the 20th century, prior to the influx of Western novels into China, the writing of ancient Chinese novels mainly focused on the omniscient and omnipotential narrative perspectives in narrative perspectives. Although the compositions occasionally used the creative approach of using the perspective of narrative narration, the writer lacks conscientiousness Creative consciousness. While inheriting the mode of omniscient narration of traditional novels, Li Yong’s masterpiece “Marilyn’s death” consciously breaks through and opens up a new model of limited-narrative narration, so that the work tells a multi-level story of how a woman can grasp her own destiny in a precarious chaos s story.