兩性結構在現今社會中，學者一般解讀為男性與女性的關係中之成文與不成文的規定，性別是由社會所建構的，他們的行為準則取決於兩性在社會中的關係。 本文試圖以兩性關係探討契訶夫作品中之女性角色，並從各種不同的視角進行分析。作者將契訶夫作品中主要女性類型分為以下四種： 1. 新時代的女性：渴望自主獨立，想要擁有原屬於傳統男性所應背負的責任－娜達麗雅•佳芙麗羅福娜 (《妻子》)、麗達 (《帶有閣樓的房子》)、娜潔詩妲•費多羅芙娜 (《決鬥》)、娜佳 (《新娘》)。 2. 傳統的女人：在扮演傳統女角色中找到自己的幸福－歐蓮卡 (《寶貝兒》)、安那(《安紐黛》)、別拉葛雅(《獵人》)。 3. 放蕩的女人：這類女性表面上保有女人所該有的特質，然而事實上並沒有致力於家庭的幸福，而是利用男性來達到個人的目的－安娜 (《脖子上的安娜》)、阿麗安德娜(《阿麗安德娜》)、歐蓮那(《打獵劇》)。 4. 純正的女性: 安娜•謝耳葛芙娜 (《帶著小的女人》)、安娜•阿列克謝芙娜 (《關於愛情》)。

　　　　　Scientists define the gender frame of reference in a modern society (the concept gender means " a social sex") as a set of relations between men and women including informal and formal rules and norms of behavior, corresponding to the place, purposes and position of the two sexes in a society. In this article an attempt is made to analyze Chekhov’s stories from the point of view of gender problematics. From this point of view the classification of female images in Chekhov’s writing can be presented as follows: 1) "The new woman" who aspires to independence and incurs the duties of performing a traditionally man's role in society－Nataliya Gavlilovina ("Wife"), Lida ("House with an attic"), Nataliya Feodolovha ("Duel"), Nadya ("Bride"); 2) "the feminine" who sees happiness in the execution of a traditional female role－Olenka ("Dushechcka"), Anya ("Anjuta"), Pelageya ("The hunter"); 3) "the floozie" who externally keeps the features of the biological sex, but actually is deprived of aspirations to create a family and family happiness and uses men for the achievement of personal purposes－Anna ("Anna on a neck"), Ariadna ("Ariadna"), Olga ("A drama on a hunt"); 4) "the real woman"－Anna Selgeevna ("Lady with the dog"), Anna Aleksefna ("The Love").