自傳以書寫個人的主體性與生歷程為主要的表現重點。以此為出發點研究女性自傳文學是認識女性文學絕佳的途徑之一，女性在歷史上缺席的情唬向來嚴重，正史的書寫特徵亦每以善、惡二元的對立方式將女性的形象僵固化，惟有以女性之筆書寫女性，甚或以女性自我書寫自身的生命歷程，正可發出真正的聲音。中國傳統對女性文學極為忽視，遑論以女性自我為書寫主體的自傳文學；李清照(1084-1155?)因符合男性文學傳統的書寫同意識，普遍被著錄於自傳選文中，但當中所流露出的女性自傳書寫意識與特徵，恰是另一種在男性自傳文學傳統下的弔詭呈現。本文擬以李清照的自傳文〈金石錄後序〉為分析文本，以解析女性自傳的書寫意識與書寫特質，作為認識中國女性自傳文學與女性歷史定位的出發點。

Women’s life stories have been all but absent form China’s orthodox history. In the precious few moments when women’s portraits do appear, they are usually sketched with a clear-cut good and evil dualism. Traditional women’s writings, those of autobiographical nature in particular, though not free form history/man’s dominance in their ways of speaking, provide much truer pictures of how women live. Li qing-zhau’s [李清照，1084-1155?] has been included in many anthologies of traditional women’s autobiographical writings. The inclusion testifies the Epilogue’s identity consciousness as acceptable to men. But the piece also manages to represent a distinct quality of women’s self consciousness rarely seen in its time. This article analyzes the text to reveal Li’s touching dialectics of self and non-self.