《聊齋誌異》不僅探奇誌異，也網羅世情，全書近三分之一篇幅攸關婚戀主題，對女性悍妒現象尤有豐富的關注。無論從傳統性別語境或蒲松齡一己遭際的悍婦經驗考察，悍妒婦女都是被貶抑批判甚至否定的對象；然而從性別角度觀照，《聊齋》的悍妒書寫展現悍妒婦女依違游移父權體制之間的生存經驗及細緻的生命紋理，在作者主觀意旨之外，蘊涵了繁複的聲口及話語。本文參酌巴赫金（Ъахтинг，Михаил МихаЙлович）的小說理論，剖析《聊齋》婚姻情境中的悍妒書寫，側重從傳統父權機制的縫隙中，細究《聊齋》如何揭顯女性的內在衝突與異質聲音，並尤重其間的動態辯證。論文涵括下列面向：一、乾綱／閫教的對立與游移，二、社會性別的框限與衝決，三、妻妾成群：妒情可憫、悍行可解？四、賢德悍妻：「暴力」之愛，五、重振乾綱與悍妒末路。

”Liaozhai zhiyi” (”Strange Tales from a Rustic Studio”) is a work that explores not only the strangeness but also the ebb and flow of the mundane world. With themes related to marriage and love stories taking up nearly one-third of the book, ”Liaozhai zhiyi” shows its specific concern for Viragoes. Either from the traditional gender context or from an encounter that Pu Songlin himself had, Viragoes are usually objects to be judged and blamed. However, if viewed from a gender perspective, the Viragoes in ”Liaozhai zhiyi” have in fact presented the transgression and violation of patriarchalism. In addition to the intention of the author, in ”Liaozhai zhiyi” we can surely 'hear' the intricate voices and discourse involved in the écriture en virago.Therefore, this paper explores not only how ”Liaozhai zhiyi” reveals heterogeneous voices and conflicts from the feminine stance but also how these voices form a dialectical dialogic interaction with traditional patriarchalism under the strong suppression of patriarchal society. To approach these issues, I focus on the écriture en virago in marital contexts with an eye on Mikhail M. Bakhtin's theory of fiction. Specific concerns of this paper lie in the following aspects:1. Conflicts and wavering between ethics for females in the patriarchal contextand virago performances.2. Framing and avulsion of gender borders3. Roots of virago performances vs. polygamy4. Virtuous viragoes with 'forceful' love5. Revival of the patriarchal tradition and the epilog of the virago voices.