本文針對解嚴以來的台語流行歌曲（1987~2002）作一番多面向的觀察，希望能把近代的台語流行歌曲，從歷史文化的角度、語言文字的角度、文學美學的各個方面去呈現它不同的風貌，使我們能夠更了解台語的流行文化，更了解自己所處的台灣社會。大多數新世代的台灣人，無法說寫流利的台語，而流行歌曲剛好是母語文化傳承的一個很好的媒介。如果我們能夠善用這個媒介，去了解以前的歷史文化、去理解台語的美感、去學習實用的生活辭彙，相信一定是事半功倍。以前的人說「唸歌唱曲解心悶，無歌無曲昧青春」，音樂可以深入人的心靈，變化氣質，調和人生，因此我們都不能忽略通俗流行歌曲的感染力量。希望透過本文的呈現，聽歌唱歌的人可以更了解台語歌詞的內涵意義；創作寫歌的人，在語言文字的使用上，有個更清楚的選擇方向。 本文共分為七個章節，第一章的敘論希望將本文研究的基調，完整的呈現出來，包括研究的動機、目的、範圍、方法和研究進行的方式（材料蒐集的過程），在論文的開頭作一番敘述，並且對目前的相關研究，作一番整理耙梳的工作。正文的分析從第二章起，第二章處理的是台語流行歌曲的歷史文化背景，透過以往影響台語歌曲的諸多政治社會因素、工商業繁榮、文化變遷等因素，讓我們先對台語流行歌曲有概念的理解。其後敘述日據時期前後的台語歌，以及六Ｏ、七Ｏ、八Ｏ年代的台語歌曲，細說其發展其變遷，透過前人資料的彙整，我們得以了解台語流行歌曲的過去。解嚴以後到2002年台語流行歌曲的近年現況，本文採取分年敘述的方式呈現，由於以往的所謂「年度歌曲」，都是以國語歌曲為主；本文希望以台語文化為觀點，逐年檢視流行音樂近年的發展。並且把台語歌曲歷年來在各個獎項上的成績彙整起來，從而可以看出台語流行歌界，這些年來值得欣慰的成就以及未來應該努力的方向。 第三、四、五章，描述的是台語流行歌曲的使用工具──台語的語言和文字分析。這個部分，希望透過用字、用韻、用詞的呈現，能夠讓讀者看到台語流行歌曲中，一般大眾所忽略的基本的問題。台語的漢字選用研究，本來就是龐大的工程，經過許多專家學者的「粒積」，才有一些成績，本文只能做粗淺的陳述，呈現目前台語流行歌曲用字、用韻、用詞的情形。最後第六章是文學的分析，重點放在對台語流行歌曲的賞析上，希望透過遣詞造句、章法結構、題材選用、主題分析上，了解這些台語流行歌曲的美感。

新台語歌運動是台灣90年代的重要音樂風潮。它擺脫了過去台語歌曲宿命論般的悲情，結合了西方的音樂質素和社會底層與傳統質素的關懷，在這片土地上，開出了新的花朵，開啟了新的可能性。 但它同時也媒合當下本土意識的認同，甚至於最後被僵固的政治想像給綁架、給收編，成為了複製過去結構的單語本土霸權，並間接導致了自身的結束。 本論文強調，不能將新台語歌運動過度的浪漫化，只重視它美好的過往而忽略掉不好的那一面；亦不能因噎廢食，戴著有色眼鏡去回顧、去注視，而遺漏掉新台語歌運動在台灣社會所開展的可能性及遺緒。這是本論文的基本態度。

本研究立基於流行歌曲對社會具有指涉、描述和反饋的特性，並檢視台語流行歌曲中，男性氣概的變化。將歌曲類比為男性身體的使用說明書，以解剖學的角度將男性身體與男性氣概結合起來，並標示出其變動的軌跡。 男性的生存經驗是獨特，且異於女性的。長久以來，性別研究的領域只關照到女性的生存困境，將男性標誌為既得利益者和加害者。但男性研究這個新的研究領域，將男性的壓抑和掙扎揭露出來，目的並不是要和女性互相指認對方才是加害者，而是要創造一個兩性共存共榮的社會。 男性氣概是一個會隨著時間更迭的社會性產物，研究者試著從台語流行歌曲的文字脈絡中，拼湊、描述出男性氣慨變動的軌跡，並且以三個年代點，民國七十年代(1980年代)、民國八十年代(1990年代) 、民國九十年代(2000年代)作為斷點，分別陳述三個時間點的男性氣概樣貌。 研究結果發現，男性氣概所具有的曖昧性和變動性，讓它具有多元的樣貌，在它的內涵中包括：男性的情緒掌控、男性與同性和異性的互動模式、以及男性被賦予的社會期望…等，其細緻處隨著年代推移，都有變與不變。從中研究者反思了男性氣概構成時的霸道性，但也看到了身體革命的可能性。能夠認知到自己是一個活生生的身體，而不是一個只依賴說明書使用和施行的「生體」，這是研究者所企望的實踐觀。

發生在1987～1996期間的台語文學論爭，是台語文學運動追求文學語言的表現，也就是台灣受外來政權統治，本土語言文化要求獨立自主的表現。日治時期，有過鄉土文學及台灣話文論爭、但因皇民化運動壓制而受挫。接著，國民黨在台灣推行華語的「國語政策」，壓制各族群語言，各族群語言瀕臨滅亡的危機。由於台灣社會民主化，促使台語文學運動再度興起。台語文學論爭就在這種時空背景下產生。 台語文學論爭有二個很重要的核心議題。一就是中國本位與台灣本位價值觀點的衝突。二就是以台語做為文學語言的訴求。因為這二個議題的辯論，而引發台語文字化、母語教育、語言政策等相關議題的發展。因為台語文學論爭，打破獨尊華語的權威，其他族群的語言文化運動也受到鼓舞。台語文學論爭不但追求自己的生存空間，也激起客家族群及原住民族追求本身語言文化的主體性。雖然台灣本土認同興起，但面到英語國際化的壓力，如何取得均衡，也是一個嚴肅的議題。 本論文在探討台語文學論爭除了追溯到歷史淵源，也涉及相關發展，及延伸到對未來發展的意義。在理論應用上也藉由高低文字的理論來詮釋台語文學運動，包括台語文學定位問題、台語文學論爭及相關發展的議題。另外本論文將戰後曾被殖民過的國家，他們的語言發展，跟台語文學運動做一個比較。我們希望這一本論文，能夠做為未來台灣語言發展的參考。 / The Taigi literature debates between 1987 and 1996 were the result of the Taigi literature movement’s efforts to pursue the status of literary language for Taigi. They were also the result of native languages and cultures in Taiwan attempting to attain subjectivity under foreign domination. The Taiwanese homeland literature and language debates occurred in the Japanese colonial period; however, they were hindered by the oppression of the Japanization movement. The suppression of native languages continued under the KMT regime, which implemented Mandarin as the state-mandated language under the ‘National Language Policy’. As a result, many ethnic languages in Taiwan suffer from serious language attrition. Owing to the democratization of Taiwanese society, the Taigi literature movement arose again and this led to the re-occurrence of the Taigi literature debates. There are two important core issues in the Taigi literature debates. One is the value conflict between Chinese viewpoints and Taiwanese viewpoints. The other is the appeal of Taigi as a literary language. As a result of debates arising about these two issues, related developments like debates over Taigi script standardization, vernacular education and language policy also arose. The fact that the Taigi literature debates challenged the authority of the ‘Mandarin Only’ policy also stimulated the language and culture movements of other ethnic groups in Taiwan. The Taigi literature debates not only pursued a living space for Taigi, but also encouraged Hakka and aboriginal ethnic groups to pursue the subjectivity of their own language and culture. Although Taiwan local consciousness arose, it encountered competition from the English language through globalization. Thus the question of how to obtain balanced development between localization and globalization has become a major issue for native languages in Taiwan. This thesis explores not only the historical origins of the Taigi literature debates but also development related to the debates as well as their influence on the future development of Taigi literature. This thesis applies the theory of diglossia and digrphia in explicating the Taigi literature movement, including the orientation of Taigi literature, Taigi literature debates and related developments. In addition, this thesis also refers to the language development of a number of former colonies and compares their experiences with Taiwan. We hope that this research can contribute to the development of Taiwanese language in the future.

台灣這一塊土地基於數百年來獨特的移民與殖民交相混融的歷史，形成多元文化共時性社會意識結構，二戰以後，面臨殖民帝國崩解、移民母國恐怖統治以及民主與共產兩大陣營對壘的冷戰局勢，遲緩了後殖民論述的建立，1960~70年代的紛擾與不確定因素形成庶民族群在工業化現代都會發展與資本主義勃興社會秩序重整夾擊下，巔巍巍地步入殖民想像與後殖民錯縱複雜的意識形態交織轉型網絡中，正如俄國學者巴赫汀(Mikhail Mikhailovich Bakhtin)所提出的社會文化變遷導致的深刻社會危機、文化斷裂、歷史轉折、命運門檻的生存災難，以台語流行歌曲的文化書寫形式，記錄了一段模糊的生活血淚，為戰後台灣歷史定位劃出鮮明的符碼。 本論文嘗試以當前對峙分明的台灣兩極意識型態之最大公約數 ── 移民與殖民的大眾文化書寫文本「1960年代台語流行歌曲」內容，以班雅明(Walter Benjamin)的城市觀看、列斐伏爾(Henri Lefebveur)的日常生活批判、索雅(Edward W. Soja)後現代地理學空間編碼等觀點，參考一般歷史學(historicism)、法國學者傅科(Michel Foucault)提出的考古學(archeology)及系譜學(genealogy)等三個方法論層次，探討戰後二十幾年間這一群經歷殖民與再殖民雙重衝擊下，福佬移民族群生活及集體血脈中奔騰、交織的多元混融深層文化脈息，印證了巴赫汀社會與文化發生劇烈動盪與變遷的時期所呈現的社會言說「眾聲喧嘩」(raznorechie, heteroglossia)現象。 / Based on the theories of “Critique of everyday life” suggested by Lefebvre, and “City gazing” by Walter Benjamin, and “Post-modernity geography space-encoding” by Edward W. Soja, the purpose of this study aims at explicating the deeper bruise of Taiwanese in their existence, mingled with the state of colonization and re-colonization through the local popular songs in the phase between 1950s and 1970s. Taiwan is an island which has a history of alternate hybridization between immigration and colonization since five hundred years unceasingly. People reflect their everyday life through creative art works, such as popular songs. Those days of disorder and disaster will be floating to the present days via the cultural writings of the Taiwanese popular songs. In view of methodology, this study uses three layers of concepts, namely, theory of historicism, and Foucauldian theories of archeology and genealogy. This study also employs Bakhtin’s theory of heteroglossia for further discussing. Study findings would be able to signify a vivid picture of colonial imagination and cultural writing in Taiwanese collective unconsciousness through popular songs after World War II.

台灣閩南語（以下簡稱台語）的研究近年日益受到重視，但討論台語分類詞的文獻卻相當稀少。分類詞定義不清，是歷年文獻對台語分類詞看法不一或略而不談的主因。同樣地，由於台語分類詞的定位不明，也使得分類詞在台語教學中未能受到應有的重視。 　　因此，本論文將以Her & Hsieh（2010）和Her（2012）所提出的分類詞與量詞的語法測試、集合論差異、和語意數值作為基礎，重新界定分類詞，並依此定義，重新審視歷年文獻所提出的台語分類詞或量詞語料。這些文獻和語料的來源涵蓋了教育部或教育局、國科會研究計畫、語言學者、資深台灣閩南語教師、及一手田野調查的資料。本論文將文獻依其對分類詞的定位分成三大類：量詞（未提及分類詞時）、分類詞視為量詞次類（如：個體量詞等）、分類詞。 　　本論文研究目的有四：首先，藉由明確的分類詞定義，重新檢視文獻中的分類詞或量詞語料，盡可能呈現出台灣閩南語的分類詞清單。其次，以這些此分類詞清單基礎，歸納出台灣閩南語分類詞的語意歸類系統。第三點，對比台灣閩南語和台灣華語的分類詞語意歸類系統。最後，將觀察到的兩方言差異提供給台語教學者作為分類詞教學上的參考依據。

本篇論文旨在從優選理論（Optimality Theory）之框架背景來探討國、台語夾碼（Mandarin-Taiwanese Code-Mixing）時的連讀變調現象。由於此現象之探討涉及國語及台語之變調，本篇論文亦從優選理論之觀點來探討國語三聲變調（Mandarin Tone Sandhi）以及台語的變調（Taiwanese Tone Sandhi）。 在國語三聲變調方面，由於傳統派生（derivational）模式在處理國語三聲變調時，仍遺留了些許的問題。例如，無法以一致的方式來處理non-PP和PP的變調現象。本文主要針對這個問題，重新以優選理論的角度提出解決之道。文中分別提出了一組韻律制約（Prosodic Constraint）及一組聲調制約（Tonal Constraint）；根據這兩組制約，傳統派生模式所遺留下的缺失則得以獲得妥善的處理。 在台語變調方面，台語變調在傳統派生模式的探討中亦遺留下些許問題。例如，無法以一致的方式來處理non-adjunct和adjunct以及non-clitic和clitic的變調問題。本文根據優選理論，重新分析台語變調。文中分別提出了一組韻律制約及一組聲調制約；根據此兩組制約，則可以成功的免除傳統派生分析模式下的缺失。 國、台語夾碼時的變調是未曾被探討過的問題。本文先就國、台語夾碼時的變調，提出一個派生模式的分析。不過，以派生模式來處理國、台語夾碼變調時，遺留下必須限定國語變調規則和台語變調規則的運作次序這項缺點。因此，本文根據優選理論，重新分析了這個變調現象，並提出了一組聲調制約；這組聲調制約，配合國語及台語的韻律制約，得以成功的處理傳統派生模式所遺留下的問題。 / The present thesis is mainly devoted to the research issue of tone sandhi in Mandarin-Taiwanese code-mixing using an Optimality Theoretic (OT) Approach. Since the study of this code-mixed tone sandhi necessarily involves the tone sandhi rules of Mandarin and of Taiwanese, the tone sandhi phenomena in Mandarin and in Taiwanese are carefully discussed under OT as well. Tone sandhi in Mandarin has been widely studied by many Chinese linguistics under the derivational approach. This thesis argues that the previous analyses to Mandarin tone sandhi are inadequate and that an Optimality Theoretic approach is needed to account for tone sandhi in Mandarin. The inadequacy of the previous analyses comes from the common failure of offering a uniform solution to account for non-PP and PP word stings in Mandarin. Based on the Optimality Theory, this thesis proposes two sets of constraints to account for Mandarin tone sandhi; one is the prosodic constraints set and the other is the tonal constraints set. This thesis proves that these two constraints can successfully get rid of the problem left by the derivational tradition. Tone sandhi in Taiwanese is also widely studied by many Chinese linguistics under the derivational approach. This thesis argues that the previous analyses to Taiwanese tone sandhi are inadequate and that an Optimality Theoretic approach is needed to account for tone sandhi in Taiwanese. The inadequacy of the previous analyses comes from the fact that Taiwanese word strings with non-adjunct and adjunct structures as well as with non-clitic and clitic structures fail to be accounted for using a uniform solution. Based on the Optimality Theory, this thesis proposes two sets of constraints to account for Taiwanese tone sandhi; one is the prosodic constraints set and the other is the tonal constraints set. This thesis proves that these two constraints can successfully get rid of the problem left by the derivational tradition. Tone sandhi in Mandarin-Taiwanese code-mixing is a phenomenon that is very interesting but has not been studied before. This thesis thus offers a derivational analysis to this tone sandhi phenomenon first, where it is found that (1) in Mandarin-Taiwanese code-mixing, a Mandarin base tone can trigger Taiwanese tone sandhi and a Taiwanese low tone can trigger Mandarin tone sandhi, (2) in Mandarin-Taiwanese code-mixing, the Mandarin tone sandhi rule is sensitive to all and only the Mandarin tone sandhi domain and the Taiwanese tone sandhi rule is sensitive to all and only the Taiwanese tone sandhi domain, and (3) in Mandarin-Taiwanese code-mixing, the Taiwanese tone sandhi rule must apply before the Mandarin tone sandhi rule to derive the tonal output. However, since the demand for an extrinsic rule order between the tone sandhi rules of Mandarin and Taiwanese is inadequate, the tone sandhi phenomenon is reanalyzed under the framework of the Optimality Theory. A set of tonal constraints is proposed. According to the tonal constraints set, the inadequacy left by the derivational approach is successfully avoided.

本論文觀察台灣年輕人說閩南語的國語口音，建立語料庫作為分析基礎，並根據優選理論中的浮動制約模型（Floating Constraint, Reynolds 1994）分析語料。 本文語料主要分為兩大組：A組及B組。除AB兩組均保留雙唇濁塞聲母 /b/之外，A組的國語口音較明顯，亦即軟顎濁塞聲母 /g/ 較常丟失、齒齦清塞音韻尾 /t/ 較常丟失、雙唇及軟顎清塞音韻尾 /p, k/ 常丟失或發為 /t/。B組的國語口音較不明顯，亦即較常保留上述輔音。 本文針對AB兩組的聲母及韻尾語料數據，各提出一組浮動制約。相較於A組，B組在聲母的浮動制約多了一個信實制約MAX-PLACE、在韻尾部分也多了另一個信實制約MAX-CONSONANT(CODA)。因此B組的信實制約有較多機會浮動至高層，也導致較多信實的輸出值。由此可見，兩組差異之關鍵在於浮動而非固定的制約，因此認為浮動制約模型適合用於處理此種語言變異現象。 / This thesis establishes a corpus of Taiwan youngsters’ Mandarin-accented pronunciation of Taiwanese voiced stop onsets /b/ and /g/ and voiceless stop codas /p, t, k/. The Floating Constraint model (Reynolds 1994) within the Optimality Theory framework is adopted to analyze the corpus data. The corpus includes two groups: Group A and Group B. Both groups retain the voiced bilabial stop onset /b/. Group A has higher percentages of omitting /g/ onset and /t/ coda, and codas /p/ and /k/ are often altered to /t/ or omitted. On the other hand, Group B tends to preserve those sounds. For each group, a set of floating constraints is proposed to account for their onset and coda data. The differences between Group A and Group B lie essentially in the number of floating faithfulness constraints. The Group B grammar allows one more floating constraint MAX-PLACE for onsets, and one more floating constraint MAX-CONSONANT(CODA) for codas. I have shown that the Mandarin accent is better accounted for in terms of the “floating” constraints, but not the “fixed” constraints.

本篇論文從語料庫及優選理論，分析台語中的日語借字，探討兩個語言之間的音韻調整現象。 本研究建立一個日語借字語料庫，以數據資料佐證音段替代的趨向，釐清音段替代的主要性和次要性。統計發現，單一日語音段，雖然可能被不同的台語音段取代，但由於比例差距的懸殊，日語和台語音段的對應情形，大多可視為一對一的關係。至於一對二的對應情形，則可歸因於台語音韻限制，或是對於借字和來源字之間音徵保留的要求。 基於語料庫的數據，本篇從優選理論分析日語和台語間的音韻調整現象。音段替代方面，主要歸因於IDENT[feature]，MAX，以及結構性制約(markedness constraint)之間的排序部署。另外，文中提出四個並存音韻，藉由調整MAX和IDENT[MR]之間，以及SHARE[back]和IDENT[anterior]之間的排序，解釋日語借字中的自由變異(free variation)現象。最後，受到IDENT[μ]和*[μμμ]的控制，相鄰兩個音節不會合併為一個，如果合併後發生音拍(mora)數量刪減或增加，或是產生一個含有二個音拍以上的音節。 / This thesis investigates the phonological adjustment of Japanese loanwords in Taiwanese. A corpus is established, and the statistics are provided to observe the substitute tendency of each of the Japanese sources. The use of the statistics properly explains whether a corresponding Taiwanese segment is either a regular substitute or merely an exception. Most of the Japanese segments are in one-to-one mapping when they are borrowed into Taiwanese. Some Japanese segments are in one-to-two mapping, due to either Taiwanese phonotatics or feature preservation between the sources and the loans, such as the phenomenon of reconfiguration. Besides, two adjacent syllables will combine to one, if the vowels are syllabified as a VG sequence after combination; in that event, the second syllable does not end with a nasal coda. Moreover, a glottal stop will insert to a word-final position if the penultimate syllable in a loanword ends with a vowel or a non-sonorant consonant. This analysis, based on the corpus, is conducted under the framework of Optimality Theory (Prince and Smolensky 1993/2004). For segmental substitutions, a set of IDENT[feature] is adopted to require the identity of certain features. The markedness constraints, regarding the segmental and place markedness and the Taiwanese phonotatics, are employed. High ranking of markedness constraints are responsible for adjustment of segments. Besides, re-rankings of SHARE[back] and IDENT[anterior] and MAX and IDENT[MR], are suggested. They are responsible for the substitutes that are in free variation. As for the contraction of syllables, it allows the loans and the sources to have the same numbers of moras. However, contraction is suspended, to prevent a syllable to have three or more moras.