20世纪90年代被视为一个“散文的时代”，散文文体继“五四”之后迎来了一个新的创作高峰。在这场众声喧哗的散文热潮中，儿童散文也不甘示弱，进入了一个蓬勃发展的“百花时代”。在儿童散文的各题材中，书写作家童年回忆的作品在数量与占比上可谓大宗。这类作品以作家回望自身的童年经验为写作对象，作品中不仅有回望姿态的“成人我”，还常出现一个童心童眼的“儿童我”的叙述声音。双重自我的存在，构成了童年回忆性儿童散文与成人散文或其他题材儿童散文相比最核心的特质。

本文以童年回忆性儿童散文为研究对象，从形象建构、形塑方式、价值意义等角度，探寻此类文本中自我书写的本质特征。全文共分为五个部分：

绪论部分梳理国内外研究现状，对本文的研究范畴进行界定及说明。第一章归纳童年回忆性儿童散文中自我形象的三种类型。探讨儿童与自然、家庭、地域、历史等因素的不同关系，如何参与建构出各种类型的自我形象。第二章从自我与他人两个维度，讨论自我形象是如何被形塑的：“儿童我”与“成人我”从不同叙述视角形塑了自我言说的声音，记忆中的他人与唤起记忆的他人共同形塑了自我记忆的素材与定位记忆的方式，隐含读者的阅读能力、兴趣与需求则合力形塑了自我书写的姿态。第三章探讨童年回忆性儿童散文中自我书写的价值与意义。自我书写首先是双重自我间的精神对话，“成人我”在回望中进行生命的溯源，整合自我同一，“儿童”我则在时间之流中被不断想象与重构。其次是自我与他人间的精神对话，自我在私人对话中感怀他人或为自己申辩，在公共对话中反思历史与社会现象，完成对理想世界的构想。最后还是作者与读者之间的精神对话，借由自我书写，作者既对读者进行文化与历史信息的传递，还交流了对童年精神的个人理解。结语部分对全文各章节概括总结，得出结论。

The 1990s of the 20th century is regarded as an "age of prose", and the prose style has ushered in a new peak of creation after the "May Fourth". In this noisy prose boom, children's prose is not outdone, and has entered a flourishing "hundred flowers era". Among the subjects of children's prose, the number and proportion of the works that write writers' childhood memories can be described as large. This kind of works takes the writer looking back on his childhood experience as the writing object. In the works, there is not only the "adult me" of looking back, but also the narrative voice of "child me" of childlike innocence. The existence of double self constitutes the core characteristic of childhood recalling children's prose compared with adult prose or other subjects. This paper takes childhood reminiscence prose as the research object, and explores the essential characteristics of self-writing in such texts from the perspectives of image construction, form and value. This paper is divided into five parts: the introduction part summarizes the research status at home and abroad, and defines and explains the research scope of this paper. The first chapter summarizes three types of self-image in childhood reminiscence children's prose. This paper discusses the different relationships between children and nature, family, region, history and other factors, and how to participate in the construction of various types of self-image. Chapter two discusses how self-image is shaped from the two dimensions of self and others: "Child I" and "adult I" shape the voice of self-speech from different narrative perspectives, the other person in memory and the other person who evokes memory jointly shape the material of self-memory and the way of locating memory, and the implied reader's reading ability, interest and needs jointly shape the posture of self-writing. Chapter three discusses the value and significance of self-writing in childhood recalling children's prose. Self-writing is first of all a spiritual dialogue between the two selves, in which the "adult self" traces the origin of life and integrates the identity of self in retrospect, while the "child" self is constantly imagined and reconstructed in the flow of time.The second is the spiritual dialogue between self and others, in which self feels for others or justifies itself in private dialogue, reflects on history and social phenomena in public dialogue, and completes the conception of the ideal world. Finally, it is the spiritual dialogue between the author and the reader. Through self-writing, the author not only transmits cultural and historical information to the reader, but also exchanges his personal understanding of the spirit of childhood. The conclusion summarizes each chapter of the full text and draws a conclusion.