本篇論文以顧太清《紅樓夢影》、王妙如《女獄花》與邵振華《俠義佳人》三部女作家小說做為研究基底，綜論晚清女性蛻變的歷程，試圖顯影當世女性從此岸／傳統定位到彼岸／重塑形象的轉化情形。從晚清女性小說書寫者的視角觀察，當時女性從被要求改革到主動參與自我的改革，其實有過一番不小的掙扎，從賢妻良母、國民母到女國民，每一次的身分修正，都會引發衝突與激盪。小說中描述女性身分演化的三部曲，正好印證晚清社會家國調整女性角色由傳統到革新的進程。晚清女界改革與政治改革的結合，掀起一波波女權／民權的自省話語，求新求變的思維被當時菁英／知識女性積極接收並且精確提出接榫計畫，在一片女體／女教救國論張揚中，女界議題首次被置放在國家民族的平台對話，以重複曝光與聚焦的手段，使得女性擺脫傳統與性別壓抑的主題，不斷的被改革人士與女性本體瀏覽與檢視，進而由言論的倡導跨足到實際操作的狀態，讓女界革命名副其實成為時代的風潮。

Using Gu Taiqing’s Hongloumeng ying（顧太清《紅樓夢影》）, Wang Miaoru’s Nuyu hua （王妙如《女獄花》）and Shao Zhenhua’s Xiayi jiaren （邵 振華《俠義佳人》）as examples, this article attempts to delineate how women underwent changes from tradition to modernity in late Qing period. From the perspective of the above women fiction writers, when women were called on to participate in reform and later self-consciously tried to change themselves, they all underwent a process of conflict and struggle. From good housewives to mother of new citizens to woman citizens, each stage brought to women great turmoil. The description of the changes in fiction corresponds interestingly with what was going on in political agenda in reality. This in turn inspired women to further engage in putting forth agenda to obtain their social status and political rights. Women issues for the first time in Chinese history appeared and entered into the public sphere. Women reform became a trend at the time.