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https://ah.lib.nccu.edu.tw/handle/140.119/33373| 題名: | 以語料庫觀點來看漢語手指謠之節律 The Rhythm of Mandarin Finger Rhymes: A Corpus-based Study |
作者: | 黃婷 Huang,Ting |
貢獻者: | 蕭宇超 Hsiao,Yuchau E. 黃婷 Huang,Ting |
關鍵詞: | 手指謠 語料庫 節律 重音 手指動作 Finger Rhymes Corpus Rhythm Stress Finger Movements |
日期: | 2006 | 上傳時間: | 17-Sep-2009 | 摘要: | 本文旨從語料庫觀點來探討漢語手指謠之節奏、重音及手指動作之韻律結構。本研究建立了四千一百七十二行的語料庫，並詳細標記句法、虛詞、重音、音節和音拍等。本文發現手指謠節奏以陽性節奏 (Masculine Rhythm) 居多，音拍共享 (Beat-sharing) 常發生在虛詞 (F Categories) 和直接成分 (Immediate Constituents)，以符合陽性節奏的原則；透過詩行模組 (Metrical Template) 可衍生出不同的節律類型。另一方面，本研究認為重音在漢語中確實有存在之必要，藉由重音極大值 (Stress Maximum) 的落點，可解釋語料庫中不符詩感 (Metricality) 的謠行。本文最後將重心轉向手指謠的物理動作節律，手指動作因配合兒童年齡之認知及肢體發展，概分為0-2歲、2-4歲及4-6歲三大階段，越小的兒童吟誦手指謠之速度較慢，手指動作也相對簡單細微。本文發現手指動作範疇乃藉由語調片語 (Intonational Phrase) 來進行切割，語調片語須與「意義單位」 (Sense Unit) 彼此對整。本文亦從「優選理論」(Optimality Theory) 的角度來探討此三大研究議題，分別從「節律語法」和「流動制約」(Floating Constraints) 的觀念，藉由制約層級的重新排序來體現漢語手指謠的節律變化。 This thesis takes great efforts in the topics about rhythm, stress and prosodic structures of the finger movements in Mandarin finger rhymes. This research established a corpus with a total of 4172 lines, each of which is coded with word categories, syntax tree, simplified tree, the number of syllables, the number of demibeats, and the stress. First of all, the masculine rhythm is the most common in the corpus. The beat-sharing, the strategy to obtain the masculine rhythm, is largely found in the F categories and the immediate constituents. The metrical template is also needed to yield the different rhythm types. Second, stress plays an important role in Maindarin Chinese. The judgement of the metricality strictly follows the metrical positions on which a stress maximum falls. The emphasis is finally put to the finger movements. The finger movements are respectively designed for the children who are 0-2, 2-4 and 4-6 years old, with the different developments in the cognition and physiology. When young children recite a metrical line, the speech rate is not as fast as other elder children and the finger movements are simple and subtle. The prosodic domains of the movements are defined from the perspective of IPs, and each IP is a sense unit (Selkirk 1984). Optimality Theory (Prince and Smolensky 1993, 2004) further covers these three research issues. The rhythm variations are vivid with the constraint re-rankings in terms of the metrics grammar and the floating constraints. |
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描述: | 碩士 國立政治大學 語言學研究所 93555004 95 |
資料來源: | http://thesis.lib.nccu.edu.tw/record/#G0093555004 | 資料類型: | thesis |
| Appears in Collections: | 學位論文 |
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