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題名:梨園戲〈管甫送〉閩南方言詞彙研究
書刊名:人文社會科學研究
作者:張婉瑤
作者(外文):Chang, Wan-yao
出版日期:2018
卷期:12:2
頁次:頁81-101
主題關鍵詞:梨園戲竹馬戲管甫送閩南方言詞彙Liyuan operaZhuma dramaGuanfusongMinnan dialectWords
原始連結:連回原系統網址new window
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  • 共同引用共同引用:198
  • 點閱點閱:7
〈管甫送〉源自閩南竹馬戲,在梨園戲影響竹馬戲的同時,也受到竹馬戲的影響,竹馬戲對梨園戲的影響表現在傳播自己的劇目,〈管甫送〉遂成為上路、下南、七子班三派所共有的傳統單折戲,是經常加於大戲之後搬演的「小齣」,因受觀眾歡迎而經常上演。〈管甫送〉劇目來源不詳,確切的創立時間不可考,本文研究的〈管甫送〉屬下南派外棚頭折戲,討論方向分三部分:首先,探討〈管甫送〉劇目的歷史來源與現今版本之間的關聯;其次,從〈管甫送〉選取十二個具有閩南方言色彩的詞彙,分為「借音詞」、「特有詞與特殊詞法」、「縮讀詞」三類,並從語音、語法的角度探討其方言本字、詞法用例以及縮讀前的語位;最後,討論閩南方言與少數民族語言,尤其是與苗侗語相類似的語言特徵。經研究,〈管甫送〉最初之時,為受永嘉雜劇時期的漳泉雜劇影響而產生的戲劇作品,屬南戲重要源頭,而閩南方言許多本字未定,或難以考訂,因此「特有詞」多以「借音詞」的形式寫定,這是將口語方言寫定為文字最快也最簡便的方式;至於閩南方言與中國南方少數民族的關係,大量存在於苗語的「疊音詞」,也可在〈管甫送〉找到許多用例。
Guanfusong is from Minnan Zhuma Drama. At the same time that the influence from the Liyuan Opera on the Zhuma Drama, Liyuan Opera was also influenced by the Zhuma Drama, and the effect of the Zhuma Drama to Liyuan Opera was spreading their own repertoire, and Guanfusong then became the common and traditional highlights of the three school of Liyuan Opera, Shanglu, Xianan and Qiziban, and Guanfusong is a skit which was always played after bigdrama. The origin of Guanfusong is unknown, and the exact creation time can not be tested. The version of Guanfusong in this paper is belong to school Xianan of Liyuan Opera. The discussion direction of this paper is divided into three parts. First, this paper explores the relationship between the historical origins of the repertoire and the present version. Secondly, this paper selects twelve Minnan dialect words form Guanfusong, which is divided into "borrow words", "special words and special lexical words" and "abbreviations", and from the perspective of voice and grammar to explore the dialect words, lexical use and the words before abbreviation. Finally, this paper discusses the language features between Minnan dialect and minority languages, especially those with Miao and Dong language. After the study, at the beginning of the year of Guanfusong, it was the drama influenced by Zhangzhou and Quanzhou drama during the Yongjia period, and it is an important source of southern play. Many of the characters in the Minnan dialect are unknown; therefore, the "unique words" is often written in the form of "borrowed words", because this is the fastest and easiest way to write spoken dialects as the written texts. As for the relationship between Minnan dialect and ethnic minorities in southern China, there is a large number of "overlapping words" one can also find many use cases in Guanfusong.
期刊論文
1.肖亞麗、關鈴(2009)。少數民族語言對黔東南漢語方言語序的影響。貴州民族研究,2009(5),176。  延伸查詢new window
2.楊秀芳(20001200)。方言本字研究的觀念與方法。漢學研究,18(特刊)=36,111-146。new window  延伸查詢new window
3.林聰輝、鄭尚憲(2012)。閩南竹馬戲源流考述。藝苑,2012(2),37-44。  延伸查詢new window
4.李云兵(2006)。苗語重疊式的構成形式、語義和句法結構特徵。語言科學,2006(2),85-103。  延伸查詢new window
5.張嘉星(2016)。閩南話詞彙主要來源的探討。閩臺文化研究,2016(3),89-97。  延伸查詢new window
6.鄭尚憲、林聰輝(2012)。「跑四喜」與「竹馬戲」--閩南竹馬戲研究之一。戲曲藝術,2012(2),55-59。  延伸查詢new window
會議論文
1.曾永義(1998)。梨園戲之淵源形成及其所蘊含之古樂古劇成分。海峽兩岸梨園戲學術研討會。臺北:國立中正文化中心。7-35。  延伸查詢new window
圖書
1.楊秀芳(1995)。臺灣閩南語語法稿。臺北:大安出版社。new window  延伸查詢new window
2.王士元(2002)。王士元語言學論文集。北京:商務印書館。  延伸查詢new window
3.藍雪霏(2005)。閩臺閩南語民歌研究。福建人民出版社。  延伸查詢new window
4.許極燉(1990)。臺灣語概論。臺北:第一出版社。  延伸查詢new window
5.周長楫(1991)。閩南話與普通話。北京:北京語文出版社。  延伸查詢new window
6.曾永義、陳世雄(2008)。閩南戲劇。福建:福建人民出版社。  延伸查詢new window
7.班固、楊家駱(1983)。新校本漢書并附編二種。台北:鼎文書局。  延伸查詢new window
8.吳捷秋(1993)。梨園戲藝術史論。臺北市:施合鄭基金會。  延伸查詢new window
9.盧廣誠(19990000)。台灣閩南語詞彙研究。臺北:南天書局。new window  延伸查詢new window
10.泉州地方戲曲研究社(2000)。泉州傳統戲曲叢書。北京:中國戲劇出版社。  延伸查詢new window
11.徐渭(2009)。南詞敘錄。揚州:廣陵書社。  延伸查詢new window
12.張永祥、曹翠云(2005)。苗語與古漢語特殊語句比較研究。北京:中央民族大學出版社。  延伸查詢new window
13.葉曉梅、賴小兵、崔建楠(2005)。千秋梨園之南戲遺響。福州:海潮攝影藝術出版社。  延伸查詢new window
14.鄭國權(2004)。泉州明清戲曲與方言:《泉州傳統戲曲叢書》編校札記。北京:中國戲劇出版社。  延伸查詢new window
圖書論文
1.董忠司(19960000)。早期臺灣語裡的非漢語成分初探。「臺灣閩南語概論」講授資料彙編。臺北:臺灣語文學會。new window  延伸查詢new window
2.陳松民(1988)。漳州的南戲--竹馬戲、南管白字戲。南戲論集。北京:中國戲劇出版社。  延伸查詢new window
 
 
 
 
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