明末馮夢龍 (西元 1574～1646)《古今小說》卷二十八〈李秀卿義結黃貞女〉，為了帶入「正話」裡明代隨父外出販香的黃善聰，於「入話」時先敘述花木蘭、祝英台、黃崇嘏的故事，這篇小說首尾以這四位女扮男裝形象為主軸，雖非出自馮夢龍原創，然由於扮裝角色跨越魏晉南北朝、唐代至明代，足以縱觀時代思潮與禮教寬鬆的脈動關係，同時內容也呈現了馮夢龍有別於主流性別規範對女性貞操、愛情與才智的見解，可見馮氏對禮教與情教之間的衝突矛盾進行修正調解。本論文主要從性別文化的視角切入，首先針對先秦以來主流性別規範對性別空間與服飾的制定，來回顧扮裝現象因時代思潮影響而具有不同的詮釋空間；其次檢視小說〈李秀卿義結黃貞女〉中女扮男裝的深層意涵，並比較馮氏小說中扮男與扮女的形象異同；最後評定該文本的時代意義。

During the late Ming Dynasty, Feng Meng-long (1574-1646) mentioned stories of Hua Mu-lan, Zhu Ying-tai and Huang Chong-gu in the preface to his work “Li Hsiu-qing Being Brother to the Chaste Woman Huang Shan-cong” in the 28th chapter of the Short Story Collection~from Ancient to Present. It depicts Huang Shan-cong who made a living by vending incense with her father. This story is pivoted around four females in disguise as male roles, both in its preface and ending. Although not created by Feng Meng-long, the theme featuring a cross-dressing heroine can be found in literary works in the Wei Jin Nan Bei, Tang and Ming Dynasties, which could serve as a focal point to observe the relationship between the changing cultural conceptions and the weakening of moral codes. In addition, Feng Meng-long proposed his views on female virginity, romantic love and intelligence, which differed dramatically from the mainstream thinking of his time. Clearly, Feng attempted to strike a balance between the conflicting moral codes and the proposed affection codes. With a perspective on gender and culture, this paper first explores how the mainstream of gender ideology had defined gender differences and dress code since the Pre-Qin Era, to review the varying interpretations of connotations of gender disguise in different times. Then, the connotations of cross-dressing in the story “Li Hsiu-qing Being Brother to the Chaste Woman Huang Shan-cong” and the differences underlying the females in disguise as males, and vice versa, in Feng’s works were also delved into. The final section of this paper discusses the significance of the text in relation to its time.