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題名：連讀變調中的方向性及對應性
作者：林蕙珊 引用關係
作者(外文)：Hui-shan Lin
校院名稱：國立清華大學
系所名稱：語言學研究所
指導教授：黃慧娟
學位類別：博士
出版日期：2004
主題關鍵詞：連讀變調；變調方向性；優選理論；天津變調；博山變調；四縣客家變調；成都變調；Hakha-Lai 變調；北京變調；tone sandhi；directionality；Optimality Theory；Tianjin tone sandhi；Boshan tone sandhi；Sixian-Hakka tone sandhi；Chengdu tone sandhi；Hakha-Lai tone sandhi；Beijing Mandarin tone sandhi
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本篇論文的主旨在於討論聲調語言當中的連讀變調現象。深究的重點是連讀變調現象中難以預測的變調方向性及變調方向性背後之意義。本篇論文所採用的理論模式是優選理論（Optimality Theory）。
根據五個漢語方言（包含了天津方言，博山方言，四縣客家方言，成都方言，和北京方言）以及一個非漢語方言（Hakha-Lai），本文指出了變調方向性和變調輸出聲調（tonal output）之間的關聯。當變調的方向性是由觸發聲調（trigger）運作至目標聲調（target）時，輸出的聲調具有正常運作（normal application）的特性。而當變調的方向是由目標聲調運作至觸發聲調時，輸出的聲調則具有不當運作（misapplication）的特性。本文認為，變調的方向基本上是由目標聲調運作至觸發聲調。因為這個方向性可以使得輸出聲調和其參考的聲調（base）較相同。當這個方向性會衍生出高度有標（highly marked）的形式，或使得位在非變調位置（prominent position）的聲調產生變化時，連讀變調規則的運作方向就會轉而由觸發聲調運作至目標聲調。變調的方向性可以由音韻制約（markedness constraint）/位置信實制約（positional faithfulness constraint）和輸出－輸出信實制約（OO-faithfulness constraint）之間的排列順序而得到預測。
變調方向性背後的動機最主要是為了促成輸出聲調和其參考聲調之間的對應性。為了達成這個對應關係，變調規則必須由目標聲調運作至觸發聲調。不過，這個對應性的達成並非全然無條件的。當連讀變調現象中更高的準則會因對應性的達成而受到違反時，變調的規則就會由相反的方向運行。
This dissertation investigates the nature of tone sandhi by focusing on the issue of unpredictable tone sandhi operation directionalities that has being attracting much attention lately. Based on data of five Chinese dialects, including Tianjin, Boshan, Sixian-Hakka, Chengdu and Beijing Mandarin, and the Kuki-Chin language of Hakha-Lai, an intriguing correlation between tone sandhi operation directionalities and normal vs. misapplications is found. In the tone sandhi patterns that are direction-sensitive, target-to-trigger rule application directionality would produce misapplication outputs (outputs with tonal changes that are not properly conditioned (i.e., overapplication) or failure of tonal changes when properly conditioned (i.e., underapplication)), while trigger-to-target directionality would produce outputs of normal application (outputs with tonal changes that are properly conditioned).
It is argued in this dissertation that over- and underapplications in tone sandhi, like those observed in reduplications and paradigms, are identity effects. They are forced by the desire for a tonal output to be more like a tonal base it prosodically relates to. The desire to achieve identity (captured by the output-to-output correspondence constraint) forces tone sandhi to operate in the target-to-trigger direction, leading to misapplications. Prosodically related outputs would however sometimes fail to correspond. If preserving identity would produce forms that contain highly marked sequences (captured by the markedness constraints) or forms that involve tonal changes taking place at the prominent position (captured by the positional faithfulness constraint), the desire for identity would be sacrificed. In that case, tone sandhi operates in the reverse direction and the resultant outputs are those of normal application. Thus, the directionalities are predictable through the interactions of the markedness constraint/positional faithfulness constraint and the output-to-output correspondence constraints, where the markedness constraint/positional faithfulness constraint must dominate the output-to-output correspondence constraint.
The investigation of the issue of directionality discloses an important feature of tone sandhi. In tone sandhi, identity preservation between prosodically related outputs is important. The output-to-output correspondence relation may force a tonal output to deviate from the canonical surface patterns of the language, so that it becomes more like a tonal base to which it prosodically relates. Identity preservation is highly respected in tone sandhi, unless this would produce forms that are highly marked or forms that involve tonal changes in the wrong position.
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