〈竹青〉是《聊齋誌異》中經典的人與異類遇合故事，其原型雖可上溯至唐宋時期，但從其敘事的筆法與情節的安排中，可以顯然看出蒲松齡有意的區別傳統。雖襲取許多志怪小說的傳統，如仙境遊歷、羽衣變形等概念，卻加以變化發揮，使〈竹青〉不再僅限於志怪傳奇，而是寄寓了個人強烈的願望，凸顯其特有的敘事風格。因此，本文透過敘事策略的比較，推知〈竹青〉所關注的重點與突出的面向。第二，「變形」的角度分析〈竹青〉中不斷出現的「變形」，背後的意涵。第三，從故事不斷挪移改變的時空描寫中，解析其特殊的時空敘事手法，及形塑的美學意境。透過三種面向的分析，得出以下結論：與傳統變形故事敘事策略的比較，可知蒲氏雖繼承了傳統仙境遊歷故事模式，沿用「出發→遊歷→回歸」的情節，但蒲氏在援用的同時，加以改變、增修。自創了第二次遊歷，與第一次被迫遊歷（因身心困乏而被迫夢遊）不同，第二遊歷是主動的，主角人物的啟悟也在這一次遊歷中完成。這有意的第二次遊歷敘事是〈竹青〉故事的重心，也是最能凸顯蒲松齡敘事特色的部分。其次，〈竹青〉故事沿用了傳統「變形」的情節，又加以變化。不僅在幻境中變形，更在實境中實現，甚至連神女身份都可變形。種種多樣的變形，都可說是內心潛意識的反射，是對現實生活缺陷的彌補，也是受創精神的撫慰。第三，蒲氏不滿足於異度空間的描寫，還將夢境、實境、仙境等性質各異的空間混雜在一起，打破彼此間的界線，予人一種往來變化、真幻相混的迷離感

<竹青>in the classic story of man and heterogeneous haphazard, the prototype can be traced back to the Tang and Song dynasties, though, but its narrative technique of writing and plot arrangement, you can clearly see the difference between intentional Pu tradition. Ghost is no longer limited to the legend, but ignited a strong personal desire,<竹青>highlighting its unique narrative style. This is the first argument.Second, the<竹青> in the emerging "deformation", the meaning behind. Third, from the story constantly changing space-time description of the diversion, the analysis of its special time and narrative technique, and shaping the aesthetic mood.Through three kinds of analysis for the following conclusions: the traditional story narrative strategy deformation comparison shows that although inherited the tradition of traveling in Wonderland story mode, follow the "departure → tour → return" of the plot, but PuShi in availing the same time, be changed, upgrading. Own a second tour, with the first forced to travel different