Academic literature on the topic '音韻論'

本文的目的是（1）整理以往的研究成果和問題、（2）離析“泉”字的諧聲關係、（3）構擬“泉”的上古音聲韻母以及討論唇化元音假設。（4）最後討論“同義換讀”的問題。“泉”的中古音是仙韻合口從母。根據Jaxontov（1960）的唇化元音假設（the rounded-vowel hypothesis），中古音合口的“泉”只來源於上古的唇化元音*-on或圓唇舌根音*Kw-。本文試圖討論“泉”的合口化的原因以及所謂“同義換讀”的現象，認為“泉”原該是非唇化元音*-an，因為“泉”跟“原”意義相近，“泉”經過“沾染（contamination）變為中古音合口呼。

提要 關於《蒙古字韻》所反映的漢語方言音系，本文得出了以下結論：①中古音四聲已分爲陰陽八調。②疑、云母的實現形式ꡃ <ŋ> [ŋ-]和ꡝ <’> [ʔ-]都是/ʔ-/ （陽調）的條件變體。③中古音微母、日母、以母 （各自對應於ꡓ <w>、ꡔ <ž>、ꡭ <y1>）爲[v-, ʐ-, jɦ-]，中古音奉母、禪母、部分匣母（對應於ꡤ <f1>、ꡚ <š1>、ꡯ <h1>）變爲[fɦ-, ʂɦ-, xɦ-]。這兩個音變構成一套鏈移 （chain shift）。④中古音全濁聲母除了邪母和部分匣母以外都變為“清音濁流” [Cɦ-]。⑤硬顎音聲母/c, cʰ, ç, j, ɲ/有獨立的地位，但是/c, cʰ, ç/沒有專用字母。⑥韻腹有/a, e, ɤ, i, u, y, ï/，韻尾有/j, w, m, n, ŋ/，介音有/w, ɥ, i/。介音/i/只與韻腹/a, e/相配。 元朝人沒有現代語言學的知識。從韻書等資料構擬出一套語音系統的科學研究是一項嶄新的嘗試。使用表音文字構擬脫離實際方言的語音系統並且還制定拼法，這是一項遠比現代人能想像的難得多的工作。本文認爲，哪一個字屬於哪一個小韻很可能是根據前代韻書而決定的，同時還認為，語音系統本身很可能是反映著實際方言音系的相當部分。 創造八思巴字拼寫的原則很可能是，蒙古語母語話者如同讀八思巴字蒙古語一樣發音，就能夠自然地念出近似漢語的語音。換句話說，八思巴字拼寫系統是爲了方便蒙古人而設計出的。

抽象 本文探討漢語方言的 m 聲母增生，初步發現音變的條件是零聲母逢韻頭 ü，音變的動機在於元音的固有鼻音性。中古各組聲母或多或少都有方言實證;換言之，聲母一旦歸零，只要逢 ü 便可順理成章增生 m。同時，ü 或留、或銷聲匿跡、或以別的面貌示人，端視個別方言如何因應唇音限制。除了個別轄字的方言材料，諧聲系列的北京話今讀也見證 m-增生的演變歷程。方言對比一目瞭然之外，本文進一步闡述舌根音唇化兼及塞音和鼻音，從規律平行性看，聲母歸零後先增生 ŋ，然後根據韻頭調整發音部位。三個理論貢獻包括：（一）明泥(娘)疑母恐怕只是語音演變的中繼站，（二）非組和見組關係匪淺，（三）效流攝本是合三韻。與其拘泥中古分類，不如正視方言今讀，依循橫向比較的內在邏輯，條分縷析地演繹語音的縱向發展。

摘要 本文基於多次田野調查收集的材料，第一次全面整理了福建省建陽市黃坑鎮方言的音系與詞彙，並在此基礎上進一步討論黃坑話的譜系地位及其相關問題。首先，我們提出了支持黃坑話的譜系地位屬於閩北語的證據。其次，我們通過黃坑話跟原始閩北語構擬的比較，梳理了黃坑話在音韻上的存古與創新，認為黃坑話應該屬於目前所知的閩北語中最早分出的一支。然後，我們構擬了比原始閩北語更早的早期閩北語，並比較了它跟原始閩北語在音系結構上的異同。最後，我們討論了黃坑話的詞彙特點以及黃坑話對漢語方言研究的啟示。

摘要 本文從音韻的觀點針對東河賽夏語中客語、閩南語及日語借詞展開更全面的比較研究。研究發現賽夏語的借音共15個，包括13個輔音以及2個元音。客語詞彙大量借入賽夏語，影響最深，除了來自日語的借音/d, g, z/ 外，客語概括閩南語和日語對賽夏語語音系統的影響。 本文也檢視及比較了在賽夏語中借詞所主導之音節結構的規則。客語和閩南語的規則相同，而日語的規則則有些不同。客語和閩南語單音節詞，借進賽夏語之後，為了符合實詞雙音節以上的規律，發生音節重整。日語單音節借詞借進賽夏語之後直接重疊。客語、閩南語與日語元音起首音節，借進賽夏語之後，為了符合賽夏語輔音起首之原則，自動加上喉塞音。客語與閩南語音節元音結尾，無論在第一音節或是第二音節，皆會元音延長；日語的規則則不同，第一音節不變，在第二音節會加上喉塞音。 最後，本文發現有些借詞同時來自客語、閩南語和／或日語造成有雙式借詞或三式借詞，須仔細地辨認每個借詞的來源，同時需要考量許多複雜的因素，包括發音人對不同語言熟悉度、借音以及音節結構的規則。

抽象 本文從焦點–重音匹配的角度來探討漢語日常口語中「把」字句謂語部分的複雜性。本文認為，與一般 [PP V] 結構不同，「把」字句是為了在句子層面上把位於「把」NP 後的謂語部分處理為資訊焦點而產生的一種特殊句式，而實現為資訊焦點的必要條件就是必須得到句法結構提供的核心重音。由於「把」字句中「把」後 NP 是謂語動詞的論元，其後的謂語部分只有在句法上形成分支結構才能夠得到核心重音，僅僅在韻律上形成分支結構是不夠的，因此光杆動詞和不形成句法分支的雙音節動詞都被排除在「把」字句之外。這個觀點也適用於其他動詞在尾的結構，例如被動句和「連…都」結構等。

This essay, the first chapter in the author’s Xifang Hanxue chutu wenxian yanjiu gaiyao 西方漢學出土文獻研究概要 (Essentials of Western Sinology’s Research on Unearthed Documents), provides a survey of Western Sinology’s research on Chinese paleography from the time of the first such study (1881) through 2015. The survey includes especially the following topics: general discussions of Chinese paleography and/or unearthed documents, the origins of Chinese writing and its social functions, the nature of Chinese writing, methodological studies, and reference works, but does not cover studies of ancient Chinese grammar or phonology. 摘要這篇文章是作者著《西方漢學出土文獻研究概要》第一章，就 1881 年到 2015年間西方漢學對中國出土文獻與古文字研究成果作概括的論述，分成下列題目：中國出土文獻與古文字學綜論、中國文字的起源及其社會作用、中國文字的性質、古文字學方法論、古文字學參考書，但是不包括相關的古代漢語語法研究和古代漢語音韻學。

提要 本文藉由彙整、析論古漢語「抴/曳」與「掣」的語義用法及其所處語詞孳生脈絡，對照閩南、閩東若干方言相關語詞的語義用法及其發展演變，閩南方言以廈門話、台灣閩南語為例，閩東方言則以福州話、馬來西亞詩巫閩清話為例，進而探究兩者之間密切的源流關係以及方言內部的個別發展。我們一方面彙整閩南方言tsʰua7、tsʰuaʔ4 具體的語義用例，同時也列舉閩東方言相應語詞的語義用例；另一方面藉由爬梳古漢語文獻來詳細探究漢語詞「抴/曳」與「掣」的語義用法以及其音義孳乳關係；最後從歷史音韻規則與語義對應關係，辨析漢語詞「抴/曳/掣/泄」在閩語的發展與演變。

This paper reports on the results of a listening instruction intervention for Japanese EFL university students aimed at improving their ability to correctly discern the phonetic and phonological aspects of English sounds. In the background of this project lies our belief that the phonetic/phonological instructions are likely to be helpful (even) for Japanese EFL students who do not major in English linguistics or literature, although these instructions are usually offered to those who are English majors. The goal of the study, thus, is to show that phonetics/phonology-based English teaching is effective for Japanese EFL students in improving their listening ability in general. To achieve the goal, we utilized a set of exercises devised for a 15-week listening course (i.e., “Sound Focus for Effective Listening”; hereinafter, “Sound Focus”). Sound Focus includes six phonetic/phonological aspects of English that are considered by the authors (= instructors) to be essential and important for improvement of listening ability. The participants were 331 freshmen at a national university: 254 were instructed in a CALL (computer-assisted language learning) classroom situation and 77 in a traditional classroom situation. Sound Focus was given with the help of a learning management system (LMS), Moodle, in the CALL classroom situation. In the traditional classroom, the Sound-Focus materials and listening exercises were provided in the form of paper-based handouts used with a CD. To understand the effects of Sound Focus instruction on student achievement and the difference between the two classroom situations, we conducted pre- and post-listening tests and administered a Can-do-statements questionnaire and a free-description questionnaire. The listening tests, which were based on Sound Focus, measured the improvement in students’ listening ability during the course; the Can-do-statements questionnaire evaluated their confidence in their listening ability; and the free description questionnaire aimed to identify the aspects of the instruction that was positively or negatively accepted by the learners. The results of the pre- and post-listening tests and the Can-do-statements questionnaire were analyzed by two-way repeated-measures ANOVA. The free description questionnaire was analyzed with a text-mining technique (SPSS Text Analytics for Surveys 3.0). The two-way repeated-measures ANOVA analysis on the difference between the scores of the pre- and post-listening tests suggested that students in each classroom situation improved their listening ability. The combined analysis of the results of the pre- and post-test scores and the Can-do-statements questionnaire further suggested that the instruction was effective for students with all levels of confidence. We analyzed the free description questionnaire to explicate what aspect of the instruction showed greater effectiveness. The results revealed that among the instructional materials, including the textbook conversations and TOEIC exercises, Sound Focus was considered by the students to be the most effective for their learning, regardless of their classroom situation. The students in the traditional classroom situation reported that the textbook conversations were also helpful. Regarding the presentation of the instructional materials, on the other hand, learners showed a sharp perceptual difference: Those in the CALL classroom situation accepted the LMS (Moodle) more positively, while in the traditional classroom situation, the presentation of the materials with the help of a projector was negatively scored. The analysis also showed that Moodle was also regarded as the best activity for the improvement of their listening ability among all the classroom activities (e.g., role-play conversations, dictations, shadowing). 本実践報告では，英語を専攻としていない日本の大学1年生を対象とした英語リスニングの授業において，英語の音声学・音韻論的特徴を指導した効果を検証した。授業はSound Focusと名付けた教材を使用し，普通教室またはCALL教室で行われ，教室環境の違いも考慮に入れた効果検証を行った。プレ・ポストテストにおける音声学・音韻論的特徴の聞き取りに関するパフォーマンスの違いと英語に対する自信の自己評価（Can-Do調査）との関連を2要因の分散分析により検討した。また，授業終了時の自由記述もテキストマイニングの手法を用いて検討した。分散分析の結果，Sound Focusを用いた英語音声学・音韻論的な指導の効果は，教室環境（普通教室，CALL教室）の違いにかかわらず，大学1年生の聞き取りパフォーマンスの向上に効果があることがわかった。またテキストマイニングの分析からは，両教室環境に対する学生の認識の違いが示された。

Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第21864号
人博第893号
新制||人||213(附属図書館)
2018||人博||893(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)教授 齋藤 治之, 教授 壇辻 正剛, 教授 道坂 昭廣
学位規則第4条第1項該当

碩士
國立臺灣師範大學
音樂學系在職進修碩士班
95
Most of American musical savants took the year of 1943 as a milestone in the musical history. The reason lied in the Oklahoma! opened on Broadway in that year. This musical succeeded to break the traditional style of Europeanize operetta by local story with implied meaning which expressed America’s nationality and localization. Theatre Guild established in 1918 was an art theatre group. Due to the founder, Lawrence Langer’s long-run operation and Theresa Helburn’s attitude in respecting professional, Theatre Guild could then overcome the financial problems to successfully produce Oklahoma! Besides, the collaboration of composer and lyricist was different from anterior musical. With Oscar Hammerstein II writing lyric first and Richard Rodgers composing music later, Rodger’s rhythmic music perfectly matched Hammerstien’s lyricism, and with the songs linking up the story plots and expressing ideology, they greatly escalated the role of songs playing in musical.