本文以清初文學對一六四五年揚州屠戮的書寫為主線，探究筆記、小說、方志、詩文等各種文類如何以揚州女子的命運，作為明清易鼎歷史記憶之歸著及歷史判斷之關鍵。首節以王秀楚〈揚州十日記〉為緣起，尋繹女子何以代表亡國的恥辱，並聯繫著威脅與危險。第二節依循〈揚州十日記〉所暗示劫難與繁華過盛的關係，以《續金瓶梅》為焦點，論述其中「罪與罰」的邏輯。作者丁耀亢寫揚州，以譴責起，而以比較平恕的視野終。揚州女子的形象，也相對的從淫縱無恥演化為無辜的受害者與權威的歷史見證人。第三節探討譴責的反面，分析表彰揚州死難烈女的詩文及方志記載，考索死節之政治意義的營構方式及動機，並闡釋具體的暴力記憶如何通過女子的身體延續。第四節探究清初揚州由蕭條至復興如何通過聲色與女性的聯想書寫，旨在證成創傷的記憶與遺忘，往往關聯對女子的褒與貶、責難與同情。

References to the Yangzhou massacre of 1645, a key event in the Qing conquest of China, span many genres, including miscellanies, fiction, local gazetteers, poetry, and biographies. In these writings, the fate and choices of Yangzhou women emerge as a prism determining the memory of trauma and a crucible defining historical judgment. In ”An Account of Ten Days in Yangzhou,” probably the most compelling narrative of violence during the Ming-Qing transition, the author Wang Xiuchu condemns women who shamelessly consorted with Qing soldiers and tried to profit from their loot and turns them into the emblem of the shame of conquest. This implied logic of blame surfaces in a variety of writings, notably the relentless unfolding of crime and punishment in Sequel to the Plum in the Golden Vase by Ding Yaokang. However, Ding's castigation of Yangzhou decadence ends up almost as ambiguous vindication. In the process women are transformed from culprits into victims, and images of their licentiousness give way to their moral authority as witnesses and judges of their times. The counterpoint to the negative portrayals of women is the elevation of women who died resisting real or potential violation as political martyrs in local gazetteers, historiography, poetry, and biographies. The negotiations behind the logic of praise testify to the social functions of eulogizing ”chastity martyrs,” as well as to the complex process of defining their varying political meanings. In an era where concrete, detailed depictions of violence during the dynastic transition are often rare, the suffering female body also becomes the venue for remembering trauma. As Yangzhou returned to prosperity during early Qing, the memory and erasure of trauma can be traced in the diverse images of Yangzhou women and the ambiguous role of sensual, feminine imagery in the poetic exchanges defining literary communities that often included literati who made different political choices.