作者
Author

蕭宇超

Yuchau E. Hsiao

關鍵詞
Key words

語料庫，漢語詩歌，非中心語，極度重音，陽性節律，陰性節律， 靜拍，優選理論，浮動制約

corpus, Chinese verse, non-head, stress maximum, masculine rhythm feminine rhythm, silent beat, Optimality Theory, floating constraint

摘要

　　傳統詩行的格律通常以音節音步為單位，學者對於音步的定義鮮少涉及到句法與重音的關係。此外，古詩不似絕律，沒有聲調平仄格律，即使是絕律，亦有不少詩行違 反平仄規範。如此看來，漢語詩歌之所以成詩，不純粹是由聲調或者音節音步來決定，應該還有其他抽象的原則存在。本文觀察古詩語料庫，認為古詩節律必須同時 考量「語法重音」與「節律重音」的搭配，句法上的「非中心語」獲得重拍，「極度重音」不可落在節律輕拍位置上。在「優選理論」的框架下，本文提出一雙「對 整制約」來篩選韻行，【S對整】可篩選陽性韻行，【W對整】可篩選陰性韻行。藉由「浮動制約」機制，正確地預測古詩節律的特性。

Abstract

     The meter of traditional Chinese verse is usually based on the phrasing of the syllable foot, which is seldom related to the connection between syntax and stress.  In addition, unlike jue-lu, gu-shi is not subsumed under the restrictions of ping-ze tone template.  In fact, many lines of jue-lu violate the ping-ze rules as well.  At this point, whether a line qualifies to be a verse is not solely determined by tone or footing, but there should exist other abstract principles.  Observing from a corpus of gu-shi, this paper considers that the key to the metrics is the correlation between grammatical stress and metrical stress; a syntactic non-head constituent receives stress, and the stress maximum may not corresponds to a weak metrical position.  Under the framework of Optimality Theory, this paper posits a pair of alignment constraints to account for the verse lines; Align-S serves to select a masculine line, whereas Align-W serves to select a feminine line.  The positing of a floating constraint then correctly predicts the metrical patterns of gu-shi.

內容語文
Language

中文

頁次
Page

1-26

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