本文以優選理論的觀點分析英文縮詞與混合詞的音韻保留形式。音韻保留形式分為：來源詞之聲母保留、來源詞之單音節保留以及來源詞之雙音節保留。本研究認為英文縮詞與混合詞的音韻保留策略不只一種，應用不同的策略會產生不同類型的縮詞及混合詞，筆者透過並存音韻理論(Cophonology Theory)來說明英文縮詞與混合詞的音韻保留策略是多個次語法的運作結果。縮詞的音韻保留策略有四種，可分為左邊保留及右邊保留，其中又以左邊保留佔多數，在這兩種保留中又分別有兩種模組(template)保留策略。混合詞的音韻保留策略有三種，主要由MAXS2這條可移動制約的位置來決定，當它在層級中移動到不同的位置會形成不同的保留策略。此外，本文也提供了跨語言分析，發現西班牙混合詞與英文混合詞可由相似的制約透過不同排序來解釋，表示不同語言的混合詞，其行為相當類似。簡言之，本篇論文藉由優選理論的觀點，首度就英文縮詞與混合詞提出了一個整體分析。 / This thesis examines the nature of English clipping and blending from the perspective of Optimality Theory. Clipped and blended words may use phonological strategies to preserve part of the source such as the preservation of the onset, syllable, or foot. Different strategies of preservation form different patterns of clipped or blended words. This thesis illustrates that these phonological strategies are determined by the different cophonologies. There are four strategies in forming clipped words. Clipped words can be preserved from the left edge or the right edge of the source, each of which follows either a bimoraic template or a disyllabic template. There are three strategies in forming blended words, depending on the ranking of the unspecified constraint MAXS2. In addition, the present study offers cross-linguistic evidence from Spanish blends, showing that Spanish blending and English blending share certain similarities. To conclude, this thesis has provided a theoretical generalization of English clipping and blending, taking a constraint-based approach.

本文以優選理論的觀點分析美濃客語的陰平變調。討論可分為兩部分，首先，針對於變調的範疇，文章從句法與音韻的介面關係探討陰平變調的範疇，結果顯示陰平變調是以語調詞組(Intonational Phrase)作為變調的範疇，而這也為韻律結構的存在提供了證據。語調詞組的形成與感知單位(Sense Unit Condition)和重組(Restructuring)有密切的關係。另外，也探討了語調詞組中的特殊結構，發現語料支持Nespor & Vogel (1986)的假設，即特殊結構可以先形成一個獨立的語調詞組。 探討完變調範疇之後，將以優選理論進行分析。本文提出兩組制約:聲調制約和韻律制約。聲調制約著重在解釋變調的運作，而韻律制約則負責解釋變調範疇的劃分，這兩組制約不僅能解釋一般句子的變調，亦能對特殊結構的變調現象予以充分的說明。針對於變讀的情形，本文以並存音韻理論(Cophonology Theory)來作解釋，藉由*IP和ALIGN-R (Non-adjunct XP, IP)兩個制約的重新排序，得到變調與不變調兩種讀法的範疇的劃分。 / This thesis is aimed at analyzing Yinping tone sandhi in Meinong Hakka from the perspective of Optimality Theory. The discussion is divided into two parts. First, this thesis explores the tonal domain in terms of the interface of syntax and phonology. The analysis indicates that the tonal domain is founded on an intonational phrase. The formation of an intonational phrase is based on the Sense Unit Condition (Selkirk, 1984) and is closely related to restructuring (Nespor and Vogel, 1986). The special constructions of IPs are also investigated. The data supports the hypothesis proposed by Nespor and Vogel (1986), namely, that these special constructions have the privilege to form an isolated intonational phrase. Secondly, Optimality Theory is adopted to analyze the data after exploring the tonal domain. Two set of constraints are proposed in this thesis. One is that of tonal constraints, which are mainly concerned with the processing of tone sandhi. The other is that of prosodic constraints, which are responsible for explaining the delimitation of the tonal domains of the data. The two sets of constraints can be used to account for the operation of the sandhi phenomena in ordinary sentences and also in special constructions. The alternative readings are explained by means of the re-ranking of *IP and ALIGN-R (Non-adjunct XP, IP) from the perspective of Cophonology Theory.

本文以優選理論的觀點分析台灣漢語饒舌歌的節奏類型。主要論點包括三個部份：節拍對應、音節對應與韻句分析。本研究建立一個漢語饒舌歌語料庫，提出數據佐證分析，認為漢語饒舌歌的節奏類型不只一種，不同的節奏類型可透過並存音韻理論(Cophonology Theory)來解釋，另外，本文也提出浮動制約(Floating Constraints)來預測漢語饒舌歌中不同節奏型態出現的比例。在節拍對應方面，透過虛詞左向附著與其他制約的排序變化，可以篩選出音節與節拍不同的對應方式。在音節對應方面，當一韻句需要滿足簡單律時，就會產生音節跨越現象。而在韻句分析方面，透過左界對整(U,x)與其他制約的排序變化，可以預測兩韻句間之間隔1/2拍或1/4拍的例子。整體而言，本篇研究就漢語饒舌歌中豐富的節奏類型提出語料以及理論上的分析基準。 / This thesis analyzes the rhythmic structure of Chinese raps in Taiwan from the perspective of Optimality theory. Three factors are in order: the demibeats mapping, the syllable mapping and the utterance phrasing. The thesis adopts the corpus-based analysis. This thesis proposes that rhythmic variants can be accounted for through the constraint re-ranking in terms of the Cophonology Theory. The positing of floating constraints can then predict the percentages of the rhythmic variants. In demibeat mapping, the interaction between F-share-L(the left-adjunction of functors) and other constraints results in different ways of demibeat-syllable correspondence; in syllable mapping, Simplicity decides the syllable-straddling phenomenon. Finally, in utterance phrasing, the interaction between Align-L(U,x) and other constraints predicts different lengthens of the utterance breaks. To conclude, this thesis provided a corpus and theoretical basis for the rhythmic structures of Chinese raps.