李劼人是现代中国文学史上最重要的写实小说家之一。针对长期以来李劼人研究“不冷不热”的状况及其初版写作和建国后“重写本”孰优孰劣的争议，本文以“《大波》三部曲”写作的变化发展为重心，认为李劼人小说作为包罗万象的杂语形式，近代史的重大政治问题在其中都有反映，如近代中国的帝国主义与民族主义问题，地方自治与宪政问题，城市的现代化改造，革命的发生学等等，皆被以一种作为信息载体的小说话语形式建构起来。李劼人“历史的自然主义”的抱负，决定了他欲以“联络小说”（“历史小说”）的形式来解释四川近代（从甲午到辛亥）所遭遇的千百年未有之大变局。他对“革命”性质的思考（究竟是由海外传导还是本土自发？）构成其长期书写中的动因，对这个问题的探究一直延续到1950年代。从全书命意看，作者起初倾向于将其视为维新改良运动对封闭的四川社会暴风骤雨般的洗礼过程。从“死水微澜”到掀起“轩然大波”，立宪派人士引导社会舆论不断推动时局变化，成都市民社会崛起，随着各方势力间矛盾斗争激化，争路风波终至成为辛亥革命的导火索。革命“被动”发生的历史本质使得“信息”或者说消息的传播成为三部曲的真正主角，由此诞生了李劼人小说独特的叙述形式：小说叙事即信息的“传述”（transmit）过程，信息量巨大的对话引语和作为“转述体”的反讽修辞，使原先“新小说”中单纯的拟话本形迹，演化为意味复杂的现实表征。1937年版《大波》已经基本上脱离了《死水微澜》的“故事”模式，走向另一个极端，小说变成“新闻轶事”的串联组合。而建国后的重写工作，则试图摆脱来自旧小说和自然主义的影响，走在了向现实主义靠拢的“典型化”的路上。论文第二章试图论述李劼人小说如何融汇了旧式小说的布局手法和西方历史小说的结构模式，将私情故事的发展与历史大势的走向严丝合缝地编织起来。第三章尝试运用量化、可视化的社会网分析方法，描绘、分析了李劼人小说中的人物关系网和集团化情况，发现作品中应该引起重视的关键人物：主角之外的中介者形象群体。第四章解释了在《死水微澜》的私情故事中充当“信使”和“枢纽”的顾天成的重要作用，并对《暴风雨前》中有深层语义关联的情节单元做结构分析，第五章分析《大波》中的“口传体系”与上谕、电文、呈文系统之间的相互拮抗。第六章是对重写《大波》和《暴风雨前》中“革命网络”的再发现。

Li Jieren is one of the most important realistic novelists in the history of Chinese modern literature， whose multi-volume long historical novelsare known as "the modern Hua Yang Guo Zhiin novel". In his novels， there are many characters， of which the dialogues involve much information， and the range of social scenes is wild and all-encompassing， and major historical events emerge in endlessly. For a long time， the study on Li Jieren is lukewarm， and there is a disputation about which editions are better between the original ones and the rewrites after the founding of the PRC. In this paper， Li Jieren's novels are incorporated into the context of the new novels in the late Qing Dynasty， in order to explore their unique narrative pattern which is the result of integrating the Chinese classical and modern European novel resources， and their cultural values which are either conservative or anti-traditional.Focusing on the change and development of Li’s Long novels，this paper argues that many major political issues of modern history are reflected in his novels， such as imperialism and nationalism， local self-government and constitution， urban modernization， the phylogenetics of the revolution and so on， and they are all constructed by the fictional discourse form as an information carrier. Li Jiren's ambitionfor "historical naturalism" decides that he desires to explain the great changes in Sichuan in the modern times (from Jiawu to Xinhai) in the form of "connected novels"（historical novels）. His understanding of the cause of the "revolution" (whether it was introduced from abroad or broke out spontaneously?) was a driving force behind his long-term writing， and his inquiry into the problem continued into the 1950s. From the intention of the whole book， the author initially inclined to regard it as a kind of baptism to the closed society of Sichuan from a reform and improvement movement. From "ripples on dead water" to "mighty uproar"， the constitutionalists who guide public opinion continuously promote the current situation to change， as a result， the civil society in Chengdu rises， and with the intensification of contradictions between the different parties， the struggle for ownership of the railway finally becomes the fuse of the Revolution of 1911. The historical nature that the revolution break out passively makes the "information" or the spread of the message the true protagonist of the trilogy， thus giving birth to the unique narrative form of Li Jieren's novel: the narrative of the novel as the process of "narration" of information， the dialogues which carry huge amount of information， and the irony rhetoric as "transcribing body"， make the simple trace of simulant script for story (ni huaben) in the new novels evolved into highly realistic meaningful representations. The 1937 edition of Great Wave has been basically out of the story mode in Ripples on Dead Water， and go to the other extreme. That is， the novel becomes a series combination of news anecdotes. The rewrite edition after the founding of the PRC， however， tries to get rid of the impact of the old novels and naturalism， taking the “typical” mode which is close to realism.The first chapter of this paper discusses how Li Jieren in his novels use the layout of old novels to weave the development of private stories and the trend of historiy. Using the quantitative and visualized method of social network analysis， the second chapter depicts and analyzes the relationship networkand the groupings of characters in Li Jieren's novels， and finds out the key figures in the novels whom we should pay attention to， that is， the intermediaries other than the protagonists， so as to clarify the author’sview of characters influenced by the relationalism. The third chapter explains the significance of Gu Tiancheng as the messenger and hub in the private stories in Ripples on Dead Water， makes a structural analysis of the plots units with deep semantic connection in Before the Tempest， and finds out the close relationship between the change of textual style and the reconstruction of social power space in the late Qing dynasty. The fourth chapter analyzes the antagonism between the "oral system" and the system of imperial edicts， telegrams and memorials to the throne in Great Wave. The fifth chapter is a re-discovery of the "revolutionary network" in the rewrite edition Great Wave and Before the Tempest.