作為一種抵拒男性父權的聲音，女性家族史的書寫，就當代廣義的華人文學而言，從美國華裔譚恩美《喜福會》、《接骨師的女兒》，到嚴君玲《落葉歸根》，香港作家黃碧雲的《烈女圖》，大陸女作家張戎《鴻》、虹影《飢餓的女兒》與王安憶《紀實與虛構》，在在體現了近年來女性書寫主題從情慾到歷史的過渡。近來除大陸女作家蔣韻《櫟樹的囚徒》、陳丹燕《慢船到中國－范妮》、《慢船到中國－簡妮》外，台灣本土女性的家族/國族書寫，施叔青《行過洛津》（2002）、鍾文音《昨日重現》（2001）、《在河左岸》（2003），陳玉慧《海神家族》（2004），以及周芬伶《母系銀河》（2005）均頗值得注意。 除了「主體重構」（reconstruction）意圖之外，九○年代以降台灣女性家族史書寫，隱然已經以母系敘述取代父系，以空間感取代時間觀，甚且以放射狀取代線性的歷史學，並以記實性高的散文取代虛構的小說。這是女性異於男性史家，也異於傳統「歷史書寫學」(historiography)之處。它所呈現的空間細緻、抽象，且情感流動，在瑣細事物中，以片段、跳躍及拼貼的方式，建構起屬於女性記憶與想像的歷史版圖。陳玉慧《海神家族》象徵著外省第二代女兒對臺灣母土的認同轉向；施叔青以《行過洛津》的七子戲班為臺灣底層社會造像，鍾文音《昨日重現－物件與影像的家族史》則游走小說與散文之間，詮釋母/女/與父/女情結。和外省第二代的「後遺民寫作」（懷想中國/父親），如張大春《聆聽父親》、駱以軍《月球姓氏》、朱天心《漫遊者》、郝譽翔《逆旅》，顯然有別。臺灣本土女性如何書寫自身，闡明生命，重構歷史，是為亟待探討的問題。 本論文重點，在於透過陳玉慧、施叔青、鍾文音近期文本（兼涵小說與散文），探討九○年代以降台灣女性作者的家族/國族史文本，以及台灣女兒的家族/國族記憶重構與身份認同問題。文中偶取海外、香港及大陸作家相關諸作參差對照，但仍以台灣近年女性文本（尤以陳玉慧、施叔青、鍾文音三位）為主要討論對象。

To be the voice against traditional father authority, the Taiwanese native feminine writings associated with nationalism and familiarity, such as “Passing though Lo-Gin” (by Shih Su-chin 2002), “Yesterday Once More”, “In Left Border of the River” (both by Chuang Wen-inn in 2001 and 03, respectively), “The Family of Sea God”(by Chen Jih-hwei 2004) and “Maternal Milky Way” (by Chou Fun-lin 2005), might deserve to pay attention. Besides of the purpose for main body reconstruction, the Taiwanese feminine writings of familiarity since ‘90s appears characterized by feminine rather than masculine description, space instead of chronological viewpoint, eventually ridiculer but not linear historical angle, and realistic prose replacing virtual novels. Possibly, those natures might be responsive of diversity between female and male historians and quite different from the traditional ‘historiography’. The self dignity description, life interpretation and history reconstruction by Taiwanese female writers, might be quite worthy to further investigate. The current literature just focuses on ‘90s’ Taiwanese feminine novels for Nationalism and Familiarity and their memory reconstruction and self identity for Taiwanese daughters, mainly through recent novels authorized by Chen Jih-hwei, Shih Su-chin and Chuang Wen-inn. The main content almost all targets Taiwanese recent feminine writers for discussion, although also is relevant to counter writers aboard or from Hong Kong and mainland China.