Boshan Tone Sandhi

博山方言的連讀變調現象

本篇論文的主旨在於討論漢語方言中，博山方言的連讀變調現象。深究的重點是博山方言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。本文認為，博山變調的方向性基本上是由左而右。因為這個方向性可以使得輸出聲調和其參考的聲調（base）比較相同。當這個方向性會衍生出高度有標（highly marked）的形式時，連讀變調規則就會轉而由右而左運作。變調的方向性可以由音韻制約（markedness 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，變調規則必須由左而右運作。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 paper investigates the tone sandhi phenomenon in Boshan, which is remarkable for its seemly unpredictable rule application directionalities observed in tri-tonal strings. Based on the constraint-based theory of OT, this paper shows that the rule application directionalities in Boshan are by no means ungoverned. Normally tone sandhi applies from left to right for identity reasons, unless highly marked forms would be generated. In that case, tone sandhi applies reverselyfrom right to left. Thus, the rule application directionalities are naturally predicted by the interaction of the identity and markedness constraints. The investigation of the issue of directionality in Boshan also supports the view that identity preservation between prosodically related outputs is important in tone sandhi. 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.